Noah Kahan

Product Placement

if i look back, i am lost
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@in-a-thin-voice

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George Hitchcock, Calypso (detail), 1906 [x]
... already I see in my mind's eye that, like men who, attracted by the shallow water near the shore, wade out into the sea, I am being carried on, whatever progress I make, into depths more vast and, as it were, into the abyss, and that the task almost waxes greater which, as I finished each of the earlier portions, seemed to be growing smaller.
Liv. 31.1.
Ἄρτεμιν ἀείδω χρυσηλάκατον, κελαδεινήν, παρθένον αἰδοίην, ἐλαφηβόλον, ἰοχέαιραν, αὐτοκασιγνήτην χρυσαόρου Ἀπόλλωνος, ἣ κατ᾽ ὄρη σκιόεντα καὶ ἄκριας ἠνεμοέσσας ἄγρῃ τερπομένη παγχρύσεα τόξα τιταίνει πέμπουσα στονόεντα βέλη: τρομέει δὲ κάρηνα ὑψηλῶν ὀρέων, ἰάχει δ᾽ ἔπι δάσκιος ὕλη δεινὸν ὑπὸ κλαγγῆς θηρῶν, φρίσσει δέ τε γαῖα πόντος τ᾽ ἰχθυόεις: ἣ δ᾽ ἄλκιμον ἦτορ ἔχουσα πάντη ἐπιστρέφεται θηρῶν ὀλέκουσα γενέθλην. - Of Artemis I sing, gold-arrowed, clamorous, revered maiden, hunter of deer, arrow-pouring, sister of Apollo with the golden sword, who through shadowy mountains and windswept heights, delighting in the chase, stretches her pure gold bow, sending forth arrows of agony—and the peaks of the high hills tremble, the thicketed wood cries out terribly with the screaming of wild beasts, the earth bristles and the fish-filled sea—and she, brave-hearted, twists every way, destroying the kindred of beasts.
Homeric Hymn to Artemis, 1-10.
(trans. mine, Greek text: [x])

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Antigone in Front of the Dead Polynices - Nikiphoros Lytras, 1865
With Dionysos, the music changes. At the heart itself of life on this earth, alterity is a sudden intrusion of that which alienates us from daily existence, from the normal course of things, from ourselves: disguise, masquerade, drunkenness, play, theatre, and finally trance and ecstatic delirium. Dionysos teaches or compels us to to become other than what we ordinarily are, to experience in this life here below the sensation of escape toward a disconcerting strangeness.
Jean-Pierre Vernant, “Mortals and Immortals: Collected Essays”
Utrecht Moreelse, Heraclite, 1630.
Whenever one of their illustrious men dies, in the course of his funeral, the body with all its paraphernalia is carried into the forum to the Rostra, as a raised platform there is called, and sometimes is propped upright upon it so as to be conspicuous, or, more rarely, is laid upon it. Then with all the people standing round, his son, if he has left one of full age and he is there, or, failing him, one of his relations, mounts the Rostra and delivers a speech concerning the virtues of the deceased, and the successful exploits performed by him in his lifetime. By these means the people are reminded of what has been done, and made to see it with their own eyes,—not only such as were engaged in the actual transactions but those also who were not;— and their sympathies are so deeply moved, that the loss appears not to be confined to the actual mourners, but to be a public one affecting the whole people. After the burial and all the usual ceremonies have been performed, they place the likeness of the deceased in the most conspicuous spot in his house, surmounted by a wooden canopy or shrine. This likeness consists of a mask made to represent the deceased with extraordinary fidelity both in shape and colour. These likenesses they display at public sacrifices adorned with much care. And when any illustrious member of the family dies, they carry these masks to the funeral, putting them on men whom they thought as like the originals as possible in height and other personal peculiarities. And these substitutes assume clothes according to the rank of the person represented: if he was a consul or praetor, a toga with purple stripes; if a censor, whole purple1 if he had also celebrated a triumph or performed any exploit of that kind, a toga embroidered with gold. These representatives also ride themselves in chariots, while the fasces and axes, and all the other customary insignia of the particular offices, lead the way, according to the dignity of the rank in the state enjoyed by the deceased in his lifetime; and on arriving at the Rostra they all take their seats on ivory chairs in their order. There could not easily be a more inspiring spectacle than this for a young man of noble ambitions and virtuous aspirations. For can we conceive any one to be unmoved at the sight of all the likenesses collected together of the men who have earned glory, all as it were living and breathing? Or what could be a more glorious spectacle?
Plb. 6.53
Nikolaos Gyzis - Historia.

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The future of the world no longer disturbs me; I do not try still to calculate, with anguish, how long or how short a time the Roman peace will endure; I leave that to the Gods. Not that I have acquired more confidence in their justice, which is not our justice, or more faith in human wisdom; the contrary is true. Life is atrocious, we know. But precisely because I expect little of the human condition, man’s periods of felicity, his partial progress, his efforts to begin over again and to continue, all seem to me like so many prodigies which nearly compensate for monstrous mass of ills and defeats, of indifference and error. Catastrophe and ruin will come; disorder will triumph, but order will too, from time to time. Peace will again establish itself between two periods and there regain the meaning which we have tried to give them. Not all our books will perish, nor our statues, if broken, lie unrepaired; other domes and pediments will rise from our domes and pediments; some few men will think and work and feel as we have done, and I venture to count upon such continuators, placed irregularly throughout the centuries, and upon this kind of intermittent immortality.
Memoirs of Hadrian, Marguerite Youcenar.
Farvahar at Pārśa
…And among these countries there was a place where previously demons were worshipped. Afterwards, by the grace of Ahuramazda I destroyed that sanctuary of demons, and I proclaimed: ‘The demons shall not be worshipped!’ Where previously the demons were worshipped, there I worshipped Ahuramazda at the proper time and in the proper manner. And there was other business that had been done ill. That I made good. That which I did, all I did by the grace of Ahuramazda. Ahuramazda bore me aid until I completed the work.
Inscription by Xšayaṛšā on the Daiva
As it was setting out, the sun left his place in the heaven and was invisible, although the sky was without clouds and very clear, and the day turned into night. When Xerxes saw and took note of that, he was concerned and asked the Magi what the vision might signify. They declared to him that the god was showing the Greeks the abandonment of their cities; for the sun (they said) was the prophet of the Greeks, as the moon was their own.
Hdt. 7.37.4

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Pierre-Narcisse Guerin (Paris 1774-1833 Rome), Phaedra and Hippolytus, 1802/1815, Musee des Beaux-Arts, Bordeaux
Tell me something random about ~ ~ yourself ~ ~
I have a weird fascination with moss -- when I was a kid, I used to think little elves dwelt within the mosses and I would try to coax them out by singing to them.
Nice tildes btw.