Ο κ. Κάμερον, οι Έλληνες και τα προαιώνια ελαττώματά τους

Το παρακάτω άρθρο είχε δημοσιευτεί πριν από καιρό σε βρετανικό περιοδικό τέχνης. [ Είναι παραπάνω από βέβαιο,  και αυτό προκύπτει από ελληνικές ιστορικές πηγές ως αυτοκριτική, άλλωστε για την εποχή εκείνη δεν υπάρχουν άλλες,  ότι ο Έλληνες που εφοδίασαν την αγγλική -και όχι μόνο την αγγλική- γλώσσα με τη λογία διάστασή της είχαν τα ίδια ελαττώματα με τους σημερινούς, στους οποίους ο Πρωθυπουργός της Αγγλίας θέλει να απαγορεύσει την είσοδο στη χώρα του.]

“It is most probable that only Greeks will understand the meaning of the following text. English language speakers, the vocabulary of which has not more than 3000 words, will not understand it…

“The genesis of classical drama was not symptomatic. Aneuphoria of charismatic and talented protagonists showed fantastic scenes of historic episodes. The prologue, the theme and the epilogue, comprised the trilogy of drama while synthesis, analysis and synopsis characterized the phraseology of the text. The syntax and phraseology used by scholars, academicians and philosophers in their rhetoric, had many grammatical idioms and idiosyncrasies.

The protagonists periodically used pseudonyms. Anonymity was a syndrome that characterized the theatrical atmosphere.
The panoramic fantasy, the mystique, the melody, the aesthetics, the use of the cosmetic epithets are characteristics of drama.
Eventhrough the theaters were physically gigantic, there was noneed for microphones because the architecture and the acoustics would echo isometrically and crystal – clear. Many epistomologists of physics, aerodynamics, acoustics, electronics, electromagnetics can not analyze – explain the ideal and isometric acoustics of Hellenic theaters even today.

There were many categories of drama: classical drama, melodrama, satiric, epic, comedy, etc. The syndrome of xenophobia or dyslexia was overcome by the pathos of the actors who practiced methodically and emphatically. Acrobatics were also euphoric. There was a plethora of anecdotal themes, with which the acrobats would electrify the ecstatic audience with scenes from mythical and historical episodes.

Some theatric episodes were characterized as scandalous and blasphemous. Pornography, bigamy, hemophilia, nymphomania, polyandry, polygamy and heterosexuality were dramatized in a pedagogical way so the mysticism about them would not cause phobia or anathema or taken as anomaly but through logic, dialogue and analysis skepticism and the pathetic or cryptic mystery behind them would be dispelled.

It is historically and chronologically proven that theater emphasized pedagogy, idealism and harmony. Paradoxically it also energized patriotism a phenomenon that symbolized ethnically character and phenomenal heroism.”

[Στη φωτογραφία ένας από τα μεγαλύτερα πνεύματα της Ανθρωπότητας, ο ελληνομαθέστατος Βρετανός Όσκαρ Ουάιλντ με την ελληνική εθνική ενδυμασία. ΄Εναν τέτοιον άνθρωπο φυλάκισε η χώρα του κ. Κάμερον κάτω από φρικτές συνθήκες για τις ερωτικές επιλογές του, και στη συνέχεια τον ανάγκασε σε εξορία στη Γαλλία, όπου μετά λίγο πέθανε. Κι αυτό πριν μόλις 112 χρόνια. Για λόγους που ο ελληνικός πολιτισμός είχε δώσει απάντηση πριν 2500 χρόνια…]
http://el.wikipedia.org/wiki/%CE%8C%CF%83%CE%BA%CE%B1%CF%81_%CE%9F%CF%85%CE%AC%CE%B9%CE%BB%CE%BD%CF%84

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