Eurynome

Eurynome (Εὐρυνόμη, ευρύς -eurys "broad" + νόμος -nomos "pasture" - a second derivation of her name, "wide-ruling" can be taken from the Greek words eurys "wide" + nomos "law" or "ruling") and Ophion (Ὀφίων "serpent")

Following My Dogstar

Aethon am I by race, but live in well-walled Thebes, forbidden my native town.

- Theognis of Megara (1209-1210)

Note - This is not an endorsement of Ecstacy.

American Urban Assault Tactics - Occupation

Stay none of our company, Simonides, that is unwilling to abide with us, nor bid to the door any that would not go, nay, nor wake thou any that gentle Sleep hath o'ertaken in his cups, nor yet bid the waking slumber if he would not; for all that is forced is painful. Him that would drink, let the lad stand by and pour him a cupful. Good cheer cometh not every night. But as for me, I keep to my measure of honey-sweet Wine, and so I shall go home ere I bethink me of care-easing Sleep; I shall have reached the top of wine's pleasure, seeing that I shall go neither sober nor over-drunken; whereas he that overpasseth the due measure of drinking is no longer master either of his tongue or his mind, but telleth reckless things disgraceful to sober ears, and hath no shame in what he doeth in his cups, a wise man once, but now a fool. Knowing this, drink not thou to excess, but either arise thou and go out privily before thou be drunken —let not thy belly constrain thee as if thou wert a bad day-labourer —or else abide and drink not. But nay, this vain Pour me a cup is thy continual chatter; therefore thou art drunken. For there's one cup cometh for friendship, another for a wager, another for libation, and another's kept in hand; and thou knowest not how to say no. He surely is invincible who shall say no vain thing when he hath drunken deep. But speak ye wisely albeit ye abide beside the bowl, withholding yourselves far from mutual strife, and speaking, whether ye address one or all, that any may hear; in this wise is a carousal a right pleasant thing.

- Theognis of Megara (467-496)

Carpe Diem! and Live a Happy Death.

To the Virgins, to Make Much of Time

Gather ye rosebuds while ye may,
Old Time is still a-flying:

And this same flower that smiles to-day
To-morrow will be dying*.

The glorious lamp of heaven, the sun,
The higher he's a-getting,

The sooner will his race be run,
And nearer he's to setting.

That age is best which is the first,
When youth and blood are warmer;

But being spent, the worse, and worst
Times still succeed the former.

Then be not coy, but use your time,
And while ye may, go marry:

For having lost but once your prime,
You may for ever tarry.

- Robert Herrick (1648)

*note - The orgasm has been widely represented in the literature over the centuries. In antiquity, Latin literature addressed the subject as much as Greek literature: Book III of Ovid's Metamorphoses retells a discussion between Jove and Juno, in which the former states: "The sense of pleasure in the male is far / More dull and dead, than what you females share." Juno rejects this thought; they agree to ask the opinion of Tiresias ("who had known Venus/Love in both ways," having lived seven years as a female). Tiresias offends Juno by agreeing with Jove, and she strikes him blind on the spot (Jove lessens the blow by giving Tiresias the gift of foresight, and a long life). Earlier, in the Ars Amatoria, Ovid states that he abhors sexual intercourse that fails to complete both partners.

The theme of orgasm survived during Romanticism and Homoeroticism. Percy Bysshe Shelley (1792–1822), "a translator of extraordinary range and versatility", in FRAGMENT: Supposed to be an Epithalamium of Francis Ravaillac and Charlotte Cordé, wrote phrase "No life can equal such a death.", that has been seen as a metaphor for orgasm, and that was preceded by a rhythmic urgency of the previous lines "Suck on, suck on, I glow, I glow!", alluding explicitly to fellatio. For Shelley, orgasm was "the almost involuntary consequences of a state of abandonment in the society of a person of surpassing attractions." Edward Ellerker Williams, the last love of Shelley's life, was remembered by the poet in "The Boat on the Serchio", which is seen as probably "the grandest portrayal of orgasm in literature":

The Serchio, twisting forth
Between the marble barriers which it clove
At Ripafratta, leads through the dread chasm
The wave that died the death which lovers love,
Living in what it sought; as if this spasm
Had not yet passed, the toppling mountains cling,
But the clear stream in full enthusiasm
Pours itself on the plain....
Again, Shelley, in this poem, related death to orgasm when he writes "death which lovers love". Curiously, in French literature, the term la petite mort (the little death) is a famous euphemism for orgasm; it is the representation of man who forgets himself and the world during orgasm. Jorge Luis Borges, in the same vision, wrote in one of the several footnotes of "Tlön, Uqbar, Orbis Tertius" that one of the churches of Tlön claims Platonically that "All men, in the vertiginous moment of coitus, are the same man. All men who repeat a line from Shakespeare are William Shakespeare." Shakespeare himself was a knowledgeable of this idea: lines "I will live in thy heart, die in thy lap, and be buried in thy eyes" and "I will die bravely, like a smug bridegroom", said respectively by Benedick in Much Ado About Nothing and by King Lear in the homonymous play, are interpreted as an option to die in a woman's lap to experience a sexual orgasm. Sigmund Freud with his psychoanalytic projects, in "The Ego and the Id" (1923), speculates that sexual satisfaction by orgasm make Eros ("life instinct") exhausted and leaves the field open to Thanatos ("death instinct"), in other words, with orgasm Eros fulfills its mission and gives way to Thanatos. Other modern authors have chosen to represent the orgasm without metaphors. In novel Lady Chatterley's Lover (1928), by D.H.Lawrence, we can find an explicit narrative of a sexual act between a couple: "As he began to move, in the sudden helpless orgasm there awoke in her strange thrills rippling inside her...

American Urban Assault Tactics - Recon

from Wikipedia

Urban exploration (often shortened as urbex or UE) is the examination of the normally unseen or off-limits parts of urban areas or industrial facilities. Urban exploration is also commonly referred to as infiltration, although some people consider infiltration to be more closely associated with the exploration of active or inhabited sites. It may also be referred to as "draining" (when exploring drains) "urban spelunking", "urban caving", or "building hacking".

The nature of this activity presents various risks, including both physical danger and the possibility of arrest and punishment. Many, but not all, of the activities associated with urban exploration could be considered trespassing or other violations of local or regional laws, including—but not limited to—invasion of privacy and certain broadly-interpreted anti-terrorism laws.

All Argument is a Cuckold and a Whore!

Plato, "Gorgias"

GORGIAS: A marvel, indeed, Socrates, if you only knew how rhetoric comprehends and holds under her sway all the inferior arts. Let me offer you a striking example of this. On several occasions I have been with my brother Herodicus or some other physician to see one of his patients, who would not allow the physician to give him medicine, or apply the knife or hot iron to him; and I have persuaded him to do for me what he would not do for the physician just by the use of rhetoric. And I say that if a rhetorician and a physician were to go to any city, and had there to argue in the Ecclesia or any other assembly as to which of them should be elected state-physician, the physician would have no chance; but he who could speak would be chosen if he wished; and in a contest with a man of any other profession the rhetorician more than any one would have the power of getting himself chosen, for he can speak more persuasively to the multitude than any of them, and on any subject. Such is the nature and power of the art of rhetoric! And yet, Socrates, rhetoric should be used like any other competitive art, not against everybody,—the rhetorician ought not to abuse his strength any more than a pugilist or pancratiast or other master of fence;—because he has powers which are more than a match either for friend or enemy, he ought not therefore to strike, stab, or slay his friends. Suppose a man to have been trained in the palestra and to be a skilful boxer,—he in the fulness of his strength goes and strikes his father or mother or one of his familiars or friends; but that is no reason why the trainers or fencing-masters should be held in detestation or banished from the city;—surely not. For they taught their art for a good purpose, to be used against enemies and evil-doers, in self-defence not in aggression, and others have perverted their instructions, and turned to a bad use their own strength and skill. But not on this account are the teachers bad, neither is the art in fault, or bad in itself; I should rather say that those who make a bad use of the art are to blame. And the same argument holds good of rhetoric; for the rhetorician can speak against all men and upon any subject,—in short, he can persuade the multitude better than any other man of anything which he pleases, but he should not therefore seek to defraud the physician or any other artist of his reputation merely because he has the power; he ought to use rhetoric fairly, as he would also use his athletic powers. And if after having become a rhetorician he makes a bad use of his strength and skill, his instructor surely ought not on that account to be held in detestation or banished. For he was intended by his teacher to make a good use of his instructions, but he abuses them. And therefore he is the person who ought to be held in detestation, banished, and put to death, and not his instructor.

SOCRATES: You, Gorgias, like myself, have had great experience of disputations, and you must have observed, I think, that they do not always terminate in mutual edification, or in the definition by either party of the subjects which they are discussing; but disagreements are apt to arise—somebody says that another has not spoken truly or clearly; and then they get into a passion and begin to quarrel, both parties conceiving that their opponents are arguing from personal feeling only and jealousy of themselves, not from any interest in the question at issue. And sometimes they will go on abusing one another until the company at last are quite vexed at themselves for ever listening to such fellows. Why do I say this? Why, because I cannot help feeling that you are now saying what is not quite consistent or accordant with what you were saying at first about rhetoric. And I am afraid to point this out to you, lest you should think that I have some animosity against you, and that I speak, not for the sake of discovering the truth, but from jealousy of you. Now if you are one of my sort, I should like to cross-examine you, but if not I will let you alone. And what is my sort? you will ask. I am one of those who are very willing to be refuted if I say anything which is not true, and very willing to refute any one else who says what is not true, and quite as ready to be refuted as to refute; for I hold that this is the greater gain of the two, just as the gain is greater of being cured of a very great evil than of curing another. For I imagine that there is no evil which a man can endure so great as an erroneous opinion about the matters of which we are speaking; and if you claim to be one of my sort, let us have the discussion out, but if you would rather have done, no matter;—let us make an end of it.

Another Battle in the War for Urban Conquest

I fear me, son of Polypaus, lest this city be destroyed by pride like the Centaurs that devoured raw flesh.

'Tis easy to make a city's good plight ill, but hard to make a city's ill plight good.

- Theognis of Megara (541-542)(845-846)