
Leaves of Grass
(0.00 / 0 votes)(Bill)
The scene is Athens,
A bunch
of the local brainiacs
have gotten together.
The wine is being passed
and the ideas are flowing
fast and furious.
The debate's in full force.
And Socrates has the floor.
Who enters?
Alcibiades. Drunk.
A beautiful man.
Hopelessly in love
with his mentor, Socrates.
And uniquely,
in all of these dialogs,
Socrates doesn't
get the last word.
Alcibiades does. Why?
(Bill)
Because passion,
Plato seems to be saying,
is essentially
and mercilessly human.
And the best
that we can hope
to do is to quell it
through relentless discipline.
To Socrates,
the healthy life is
comprised of constant focus
by the individual
that weaken or
confuse his understanding
He implores us
to devote our lives
to this kind of control.
Meaning, our every
waking moment.
Socrates recognized
what every philosopher
and religion, for that matter
in the history of the world,
from Plato to Aristotle
from Epicurus to the Stoics
from the Judeo-Christians
to the Buddhists
have all observed
which is that
the balance needed
for a happy life is illusory.
And as soon as
in our gorgeously
flawed human way
we think
that we've attained it
we're pretending divinity
and we're gonna crash.
Like Icarus,
flaming into the sea.
this weekend when you think
you're on top of the world
and then you pour
a pitcher of beer
down your throat
and chase
that upper classmen
who's out of your league.
Aristotle is next week.
Don't just look
at it as words.
Imagine the scene.
These were people. They
were alive like you and me.
They thought things.
Breath them into life.
[Bells toll]
(Anne)
So, I was thinking
about doing this contrast
between dialog
and chorus in Sophocles.
You should
read Nietzsche's
Birth of Tragedy.
He says that tragedy
emerges from the clash
between Apollo God
of reason and harmony
and Dionysus,
God of intoxication.
And that their struggle
within our human condition
is inevitable
and that that
is what has produced
the most
salient form of art
the world's ever known.
Tragedy?
What, you don't think so?
I like comedies.
You wanna see a movie?
No, Miss Greenstein.
I'm sorry.
Did you get my note?
I did.
And?
It was very clever
to write it in Latin.
With the repeated use
of the passive periphrastic?
That's quite profligate.
And how I was
sending Cicero
with alliterative adjectives
thrusting themselves
into the verbs?
None of this
was lost on me.
So?
Miss Greenstein.
You are very, very bright
and very fetching
in your way.
But there
are certain rules
mores if you will,
lines that we don't cross.
I'm not joking, actually
and I'm gonna ask you
in the future to refrain...
No. No!
Please don't do that.
I'm going to ask you
to open that door,
Miss Greenstein.
(in Latin)
Lingua sed torpet,
tenuis sub artis.
Catullus 51,
the Lesbia cycle, yes.
However...
Oh, no-no-no!
Absolutely not.
(in Latin)
Tintinant aures
gemina et teguntur.
This is, don't,
this is not good
for either of us. No!
Oh!
Excuse me!
Uh, I'll, I'll...
Uh, Maggie.
Maggie!
Please don't go.
Miss Greenstein
was just leaving.
Maggie.
Absolutely nothing.
You don't
have to say anything.
I would never.
She, she, she
went and just wah.
They're all
in love with you.
Just like Harvard.
Who told you that?
This is the Classics
Department. No one is more
gossipy than you people.
Okay. I am going
to Cambridge in the morning.
It's just a lunch.
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"Leaves of Grass" Scripts.com. STANDS4 LLC, 2021. Web. 19 Apr. 2021. <https://www.scripts.com/script/leaves_of_grass_12372>.