Greeks Quotes - page 7
I would teach the world how the Greeks proved, more than 2,000 years ago, that there are infinitely many prime numbers. In my mind, this discovery is the beginning of mathematics – when humankind realised that, by pure thought alone, it could prove eternal truths of the universe.
Prime numbers are the indivisible numbers, numbers that can be divided only by themselves and one. They are the most important numbers in mathematics, because every number is built by multiplying prime numbers together – for example, 60 = 2 x 2 x 3 x 5. They are like the atoms of arithmetic, the hydrogen and oxygen of the world of numbers.
Marcus du Sautoy
I also often hear the word 'evolution'. Repeatedly I am asked to explain how my painting evolved. To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was. Art does not evolve by itself, the ideas of people change and with them their mode of expression.
Pablo Picasso
As the Greeks devoted themselves to philosophy, obedient to the logos within the limits of the kairos; as the Middle Ages subordinated the logos to the great kairos upon which their culture was built; as modern philosophy through its kairos adapted itself to the logos of a world-dominating science and technique, so our task is to serve the logos out of the depths of our new kairos, a kairos that is now emerging in the crises and catastrophes of our day. Hence, the more deeply we understand fate - our own personal fate and that of our society - the more our intellectual work will have power and truth.
Paul Tillich
Not only the Greeks in general - Aristotle no less than Plato - but the great medieval thinkers as well, all held that there was an element of purely receptive "looking," not only in self-perception but also in intellectual knowing or, as Heraclitus said, "Listening-in to the being of things."
The medievals distinguished between the intellect as ratio and the intellect as intellectus. Ratio is the power of discursive thought, of searching and re-searching, abstracting, refining, and concluding [cf. Latin dis-currere, "to run to and fro"], whereas intellectus refers to the ability of "simply looking" (simplex intuitus), to which the truth presents itself as a landscape presents itself to the eye.
Josef Pieper
Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks. In the same way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning.
Wassily Kandinsky
Consequences. In real life, these ramifications emanate from every action like ripples from a stone thrown into a pond. Often in movies, especially those that feature characters who don't play by the rules, such penalties are suspended. However, in Christopher Nolan's Batman universe, decisions and actions have consequences. The Dark Knight, arguably the moodiest and most adult superhero motion picture ever to reach the screen, illustrates this lesson in ways that are startling and painful. This is a tough, uncompromising motion picture - one that defies the common notions of what is expected from a "superhero" film. While there are plenty of action sequences and instances of derring-do, The Dark Knight's subtext has a tragic underpinning that would intrigue Shakespeare or the Greeks. It's about power and impotence, sanity and madness, image and reality, selfishness and sacrifice, and - yes - consequences.
James Berardinelli
Having acknowledged the measure of the good to be pleasure, i. e., beauty, the European upper classes went back in their comprehension of art to the gross conception of the primitive Greeks which Plato had already condemned. And with this understanding of life, a theory of art was formulated.
Leo Tolstoy
After Plotinus, says Schassler, fifteen centuries passed without the slightest scientific interest for the world of beauty and art. ...In reality, nothing of the kind happened. The science of aesthetics ... neither did nor could vanish, because it never existed. ... the Greeks were so little developed that goodness and beauty seemed to coincide. On that obsolete Greek view of life the science of aesthetics was invented by men of the eighteenth century, and especially shaped and mounted in Baumgarten's theory. The Greeks (as anyone may read in Bénard's book on Aristotle and Walter's work on Plato) never had a science of aesthetics.
Leo Tolstoy
The Greeks believed that an athlete who had represented his community at a national competition, and won, had thereby conferred a notable distinction on his city. His victory was a testament to the quality of the citizens. All the magnates of the city welcomed him home in civic procession. They broke down a part of the wall for him to enter: a city which could produce such citizens had no need of walls to defend it. For the rest of his life he ate at the public expense.
C. L. R. James
[The consequences of] beliefs that go against the providence of a perfectly good, wise, and just God, or against that immortality of souls which lays them open to the operations of justice.... I even find that somewhat similar opinions, by stealing gradually into the minds of men of high station who rule the rest and on whom affairs depend, and by slithering into fashionable books, are inclining everything toward the universal revolution with which Europe is threatened, and are completing the destruction of what still remains in the world of the generous Greeks and Romans who placed love of country and of the public good, and the welfare of future generations before fortune and even before life.
Gottfried Leibniz
The second and third Empires, represented by the Bear and Leopard, are again represented by the Ram and He-Goat; but with this difference, that the Ram represents the kingdoms of the Medes and Persians from the beginning of the four Empires, and the Goat represents the kingdom of the Greeks to the end of them. By this means, under the type of the Ram and He-Goat, the times of all the four Empires are again described: I lifted up mine eyes, saith Daniel, and saw, and behold there stood before the river [Ulai] a Ram which had two horns, and the two horns were high, but one was higher than the other, and the higher came up last.
Isaac Newton
