E. B.

My alter ego

[E. B. @EBV06]

ARISTÓTELES SOBRE LA RAZÓN:

“La verdad reside en el mundo alrededor nuestro.”

"Todo lo que depende de la acción de la naturaleza es por naturaleza lo mejor posible".

“Todos los hombres por naturaleza desean saber.” >>>

[E. B. @EBV06]

#aristoteles #filosofia

[E. B. @EBV06]

ARISTÓTELES SOBRE LA RAZÓN:

“La verdad reside en el mundo alrededor nuestro.”

"Todo lo que depende de la acción de la naturaleza es por naturaleza lo mejor posible".

“Todos los hombres por naturaleza desean saber.” >>>

[E. B. @EBV06]

Fue en El Liceo donde hizo la mayor parte de sus escritos y formalizó sus ideas. Después de la muerte de Alexander en 323 A.C. ante un ambiente anti Macedonio, huyó a Chalcis, en la Isla de Eudobea, donde murió el año siguiente. /

[E. B. @EBV06]

@Elon_Nation_ It’s called authenticity

[Handre @Handre]

Envy needs an ideology, and socialism has always been happy to provide one. Mises wrote a whole book about this in 1956, The Anti-Capitalistic Mentality, and the diagnosis holds up: people who resent the outcomes of voluntary exchange will always search for a doctrine that transforms their resentment into virtue. The woke left found theirs.

Notice what wokeism and socialism share at the root. Both start from the premise that unequal outcomes prove injustice. You earned more than your neighbor? Exploitation. One group outperforms another in median income? Systemic oppression. Neither doctrine ever asks whether people made different choices, took different risks, or produced different value for others. Asking that question would ruin everything, because the entire project depends on assigning blame rather than understanding prices, profit, and loss.

Once you accept that unequal outcomes equal injustice, you need a corrector. Someone powerful. Someone with the authority to override contracts, seize property, and redistribute according to a moral hierarchy the planners themselves define. That job description has exactly one applicant: the state. This is why the woke activist and the socialist always arrive at the same policy desk, demanding rent control in New York, wealth taxes in Sacramento, hiring quotas in every HR department from Seattle to Brussels.

Marcuse and the Frankfurt School figured out decades ago that the Western worker refused to play his assigned role as revolutionary. He got rich instead. Capitalism handed him a car, a house, and air conditioning, and he stopped listening to men promising utopia through expropriation. The revolutionaries needed a new client base. Class became identity, but the machinery stayed identical: oppressor and oppressed, guilt and grievance, revolution and rule.

The love affair with socialism, then, follows logically. Wokeism supplies the moral demand for coercion; socialism supplies the economic apparatus of coercion. Neither can survive in a world of private property and voluntary exchange, because in that world you rise by serving customers, not by capturing committees. Venezuela ran this experiment from 1999 onward. The grocery shelves reported the results.

[The Weather Channel @weatherchannel]

Hurricane Expert Dr. Rick Knabb breaks down the latest advisory on Tropical Storm Bertha. Here is his analysis of the storm’s track, timing, and potential impacts along the Gulf Coast:

[TheBlackWolf @thewolvenhour]

The Iliad: The Wrath of Achilles

In a space and time of gods roaming the Earth and mingling freely among the mortals, a multitude of tragic stories of antithesis unfolded, painting the dramatic contrast between strength and weakness, strife and valor, pain and glory; it’s an epic song, meant to be sung, so its essence can reach the bottoms of the human soul. This poetic tapestry woven with the threads of heroism, destiny, and the capricious whims of divine beings recounts the deeds of mortals, immortals and demigods. These are the heroes that will guide us through the labyrinths of destiny and human fate in our story today; for monsters, real and ethereal alike, roam those corridors and frighten the poor mortal souls in their dreams. But we are in luck; for I speak the language of the ancient Greek Gods and I call the vast Sea and the eternal Sky, with the same words Odysseus, Menelaus and Achilles did; the same words that Homer used to write his rhapsodies of the Iliad and the Odyssey. Therefore, I shall take you with me on this journey back in time, delving deep into the original sources and Homer’s work.

Technical Details time: this is the attempt of a mortal to sing about immortals; it’s probably going to suck HARD compared to the original so, read the original as well. It’s incredibly long, but think about what I had to read, analyze, translate, narrate and summarize. For obvious reasons, I will break and analyze the Iliad and the Odyssey separately; I won’t even be coming close to doing them justice but they really deserve a separate deep-dive either way. I will be giving you context and I’ll try not only to bring those demigod heroes back to life, but rather give you a glimpse of their psyche and warrior ethos. I will also try to draw the parallel lines between the hand of destiny and the will of the Gods, focusing on how fate can turn the tide and make or break the lives of mortals, whether they chose it or not. As I said, the story was always meant to be a song, meant to be sung; the incredible ability of Homer to weave stories within stories and use the words of the Greek language as his divine instruments is just mind-boggling; this is why he is the Architect of Western literature and Ethos. I read from several books and translations from ancient Greek to modern Greek and English; I will be using some English translations to give you just a taste of the expressional approaches Homer used, which -in my mind- could only be considered comparable in English literature with Shakespeare’s (but even then, the comparison is almost a Heresy). So, when you see text in Italic it means that it’s almost a transfer of an English translation but when I use quotes “ “, it means I directly translated it from Greek (without Shakespearean influences – rather Black-Wolven ones).

Because even before the mighty Achaeans (Greeks) sailed with their fleet for the shores of Troy, the gods convened on Mount Olympus. Zeus, the ruler of the heavens, decreed the fate of mortals with a nod, while Hera, his queen, watched with keen interest and secretive interventions. Athena, the goddess of wisdom, and Aphrodite, the goddess of love, each championed their favored mortals, influencing the course of the impending struggle. The Iliad unveils the celestial balance that governed the affairs of gods and men, revealing a cosmos where divine whimsy interwoven with mortal destinies. The gods, with their own passions and prejudices, played a role as crucial as any mortal in determining the outcome of the great conflict. As the Trojans faced the Greeks on the battlefield, it was not only the clash of muscle, spirit, bronze and balls of steel that echoed through the air, but the invisible currents of divine influence that swirled above. The Saga beckons us to delve into the complexities of human nature, to witness the grandeur of heroism juxtaposed with the fragility of pride and the cruel nature of war. It is a tale that traverses the boundaries between the earthly and the divine, where gods and mortals alike are entwined in the inexorable dance of destiny. The prologue, with its celestial proclamations and mortal vendettas, sets the stage for an epic that will resonate through the corridors of time. So, sit back, make sure you got time, grab the bourbon or your coffee, get the red panties out for later (parts of the story are going to have Aphrodisiac properties – treat it responsibly), and enjoy.

In this expanse of war-torn landscapes and fickle deities, the deeds of those men still echo in the halls of eternity. At the very heart of this monumental conflict, stood Achilles, a hero whose mortal essence defied the divine order. His wrath, kindled by a perceived slight to his honor and his love, became a force that even the gods could not ignore. The story journeys through the inner turmoil of this demigod, torn between the pursuit of glory and the yearning for personal vindication. The narrative unfolds with a symphony of emotions, painting a portrait of a hero who transcends the limitations of his mortality to reach his goal: immortality.

This is why Homer, along with myself, praises the muse and kindly asks her to sing us the song about the Wrath of Achilles:

“The wrath sing, goddess, of Peleus' son, Achilles, that destructive wrath which brought countless woes upon the Achaeans, and sent forth to Hades many valiant souls of heroes, and made them themselves spoil for dogs and every vulture; thus, the plan of Zeus came to fulfillment, from the time when first they parted in strife Atreus' son, king of men, and brilliant Achilles.
Who then of the gods was it that brought these two together to contend? The son of Leto and Zeus; for he in anger against the king roused throughout the host an evil pestilence, and the people began to perish, because upon the priest Chryses the son of Atreus had wrought dishonor.
For he had come to the swift ships of the Achaeans to free his daughter, bearing ransom past counting; and in his hands he held the wreaths of Apollo who strikes from afar, on a staff of gold; and he implored all the Achaeans, but most of all the two sons of Atreus, the marshallers of the people: “Sons of Atreus, and other well-grieved Achaeans, to you may the gods who have homes upon Olympus grant that you sack the city of Priam, and return safe to your homes; but my dear child release to me, and accept the ransom out of reverence for the son of Zeus, Apollo who strikes from afar.”
Then all the rest of the Achaeans shouted assent, to reverence the priest and accept the glorious ransom, yet the thing did not please the heart of Agamemnon, son of Atreus, but he sent him away harshly, and laid upon him a stern command: “Let me not find you, old man, by the hollow ships, either tarrying now or coming back later, lest your staff and the wreath of the god not protect you. Her I will not set free. Sooner shall old age come upon her in our house, in Argos, far from her native land, as she walks to and from before the loom and serves my bed. But go, do not anger me, that you may return the safer.”

[Borges, Jorge Luis @BorgesJorgeL]

Yo identifico más bien la maldad con la estupidez, y la bondad con la inteligencia.

BORGES: —Yo creo que la cultura no se entiende sin la ética. Me parece que una persona culta tiene que ser ética. Por ejemplo, suele suponerse que los buenos son tontos, y que los malvados son inteligentes; y yo creo que no, yo creo que, de hecho, se da lo contrario. Las personas malas son, por lo general, ingenuas también: una persona obra mal porque no se imagina lo que su conducta puede producir en la conciencia de otros. De modo que yo creo que hay, mas bien, inocencia en la maldad e inteligencia en la bondad. Además, la bondad, para ser perfecta —creo que nadie llega a una bondad perfecta— tiene que ser inteligente. Por ejemplo, una persona buena, y no demasiado inteligente, puede decir cosas desagradables para los demás; porque no se da cuenta de que son desagradables. En cambio, una persona, para ser buena, tiene que ser inteligente, porque si no, su bondad será... y... imperfecta, por decir cosas incómodas para los demás y no darse cuenta.

FERRARI:—Esto usted lo ha dicho otras veces, y me parece muy importante.

BORGES:—Sí, es decir, que yo identifico más bien la maldad con la estupidez, y la bondad con la inteligencia. Y suele no hacerse eso; se supone, siempre, que las personas buenas son personas simples. No, una persona puede ser buena y ser compleja, y una persona puede ser malvada y ser sencillísima —es el caso de los criminales, supongo.

[The Conservative Alternative @OldeWorldOrder]

GEORGE WASHINGTON: "Real men despise battle, but will never run from it."

[Ivor Cummins @FatEmperor]

UNMISSIBLE - this guy is bang on point - this is what Rockefeller, WEF, UN, EU etc. are doing to us.

CAN YOU FEEL IT???

[E. B. @EBV06]

@Elon_Nation_ Modern and classy

[Ancient History Hub @AncientHistorry]

Rome conquered Greece in 146 BC when they burned Corinth to the ground. And then the strangest thing in ancient history happened. The winners spent the next few centuries desperately trying to become the losers.

It actually started before the final conquest. When the general Marcellus sacked Syracuse in 211 BC, he shipped boatloads of Greek statues and paintings back to Rome, and the city went crazy for it. Suddenly every rich Roman had to have Greek art in his house. Decades later Cicero built an entire court case around prosecuting a governor named Verres for looting Greek masterpieces, and Romans ate it up.

Then came the schools. Wealthy families started buying Greek slaves specifically because they were educated, and handed them the job of raising their children. So the sons of the men who crushed Greece grew up speaking Greek, memorizing Greek poetry, and learning philosophy from Greeks. The elite eventually sent their teenagers abroad to Athens and Rhodes to finish their education, the way people today send kids to study overseas. Cicero did it. Julius Caesar did it.

Their gods were Greek gods wearing name tags. Zeus became Jupiter. Hera became Juno. Aphrodite became Venus. Ares became Mars. Same myths, same family drama, mostly just relabeled.

Their entertainment was borrowed too. The first big Roman playwrights, Plautus and Terence, basically adapted Greek comedies into Latin. Their doctors were Greek. Their architecture leaned on Greek columns, the Doric and Ionic and Corinthian orders you still see on bank buildings today.

And the art obsession left a strange fingerprint on history. Romans loved Greek bronze statues so much that they mass produced marble copies of them. A huge chunk of what people walk past in museums today and call "Greek sculpture" is actually a Roman copy. The Greek originals melted down or vanished long ago. The knockoffs are what survived.

Not everyone was thrilled. Cato the Elder spent his whole life warning that Greek culture would rot the Roman character. He sneered at Greek philosophers, distrusted Greek doctors, and wanted them kept out of the city. And then, as an old man, he quietly sat down and learned Greek anyway. Even the loudest hater caved.

The trend went all the way to the top. Virgil wrote the Aeneid, Rome's national epic, by openly modeling it on Homer. The emperor Nero competed in Greek games and toured Greece like a superfan. Hadrian was so obsessed he grew a Greek philosopher's beard and poured money into rebuilding Athens. And Marcus Aurelius, master of the entire Roman world, wrote his private journal not in Latin but in Greek, because that was the language of serious thinking.

The poet Horace nailed it in a single line: captured Greece took her savage conqueror captive. Rome won every war on the battlefield and then handed its whole soul to the people it had beaten.

[E. B. @EBV06]

https://t.co/lEQZc2YQCz