Скачать книгу - Parthenon

A lively combination of scholarship and unorthodoxy makes these studies in ancient history and literature unusually rewarding. Few of the objects of conventional admiration gain much support from Peter Green (Pericles and the «democracy» of fifth-century Athens are treated to a very cool scrutiny) but he has a warm regard for the real virtues of antiquity and for those who spoke with «an individual voice.»<br /><br />The studies cover both history and literature, Greece and Rome. They range from the real nature of Athenian society to poets as diverse as Sappho and Juvenal, and all of them, without laboring any parallels, make the ancient world immediately relevant to our own. (There is, for example, a very perceptive essay on how classical history often becomes a vehicle for the historian's own political beliefs and fantasies of power.) <br /><br />The student of classical history will find plenty in this book to enrich his own studies. The general reader will enjoy the vision of a classical world which differs radically from what he probably expects.

The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British Museum to help pay off Elgin’s debts. This scandal, exacerbated by the inept handling of the sculptures by their self-appointed guardians, remains unresolved to this day. In his fierce, eloquent account of a shameful piece of British imperial history, Christopher Hitchens makes the moral, artistic, legal and political case for re-unifying the Parthenon frieze in Athens. The opening of the New Acropolis Museum emphatically trumps the British Museum’s long-standing (if always questionable) objection that there is nowhere in Athens to house the Parthenon Marbles. With contributions by Nadine Gordimer and Professor Charalambos Bouras, The Parthenon Marbles will surely end all arguments about where these great treasures belong, and help bring a two-centuries-old disgrace to a just conclusion. With contributions by Charalamabos Bouras and Robert Browning

The twenty-seven poems in this collection were written over a period of many years. They vary greatly in style and length. The poems in the first two sections are lyrical. Natural beauty evokes wonder and tugs at memory. Creatures dance and sing. There is joy. The last poem in Part II, «The Generations,» shifts tone abruptly. There is conflict and loss. In the end, with the dolphins, beauty renews hope. «The Generations» is a bridge to the complex narrative poems and dramatic lyrics in Part III. Here the tragic is displayed, but also the divine power that redeems it. Part IV plunges into our modern abyss. The poems are an anguished cry from the heart of the fog enveloping our civilization. The long poem, «The Fog,» evokes the plight of lost and lonely individuals tending their private campfires in the night of the world, cut off from transcendence and marooned in the abstract unreality of the digital universe. Part V carries forward this momentum, referencing the genocidal violence of our age, but then moves from darkness and horror up into the light of revelation and peace.