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The Grandest of All Sepulchres On the annual Remembrance Day of ancient Athens, Pericles rose to remind the people of the City that grief alone was not the best way to honour the fallen.

In two parts

431 BC
Music: Leroy Anderson

© Aleksandr Zykov, Wikimedia Commons. Licence: CC-BY-SA 2.0. Source

About this picture …

A grave stele (headstone or column) dating back to about 430-420 BC, the opening years of the Peloponnesian War (431-404 BC). It shows a young man with a little bird in his left hand, reaching up with his right to a birdcage. Near him is a forlorn-looking servant and crouching cat. Like other Greeks of his time, Pericles had no concept of life after death, and was painfully aware that he could offer no consolation to the bereaved for the loss of children and husbands except the knowledge that “their story lives on, woven into the stuff of other men’s lives”. Four centuries later, the resurrection of Jesus Christ emboldened the Christians to a sure and certain hope: see St Bede on Run for Glory.

The Grandest of All Sepulchres

Part 1 of 2

In the winter of 431 BC, their annual Remembrance Day had a special resonance for Athenians: war had broken out with Sparta, a city felt to stand for crushing State control, even as Corinth stood for licentious ruin. Rising to deliver the keynote address, Pericles asked Athenians not just to grieve for the dead, but to cherish a City founded on liberty and self-control as a living monument to heroes.

COUNTING the quest to avenge her [the City’s] honour as the most glorious of all ventures, and leaving Hope, the uncertain goddess, to send them what she would, they faced the foe as they drew near him in the strength of their own manhood; and when the shock of battle came they chose rather to suffer the uttermost than to win life by weakness. So their memory has escaped the reproaches of men’s lips, but they bore instead on their bodies the marks of men’s hands, and in a moment of time, at the climax of their lives, were rapt away from a world filled for their dying eyes not with terror but with glory.

Such were the men who lie here and such the city that inspired them. We survivors may pray to be spared their bitter hour, but must disdain to meet the foe with a spirit less triumphant.

Jump to Part 2

Précis

In 431 BC, the first year of the Peloponnesian War against Sparta, Athenian statesman Pericles gave the City’s annual Rembrance Day address. He reminded his listeners of the courage shown by the armed forces, and said they though all should pray never to undergo such a trial, they should hope also to meet it just as bravely. (56 / 60 words)

Part Two

By Bedford Lemere & Co. (1923), Wikimedia Commons. Licence: CC-BY-SA 2.0. Source

About this picture …

Admiralty Arch, on the south side of Trafalgar Square, in 1923, looking along The Mall to the Victoria Monument and Buckingham Palace beyond. In 1923, classical historian Sir Richard Winn Livingstone (1880-1960) invited readers to reflect on Pericles’s words in the light of the Great War of 1914-18. “In certain points the contrast between the austere discipline of Sparta and the freer life of Athens reads like a comparison between pre-war Prussia and Britain. Fully to appreciate the speech let the reader think: (1) How a speech by a modern statesman on the dead of 1914-18 would differ from it; (2) Whether our ideal of a state is that which Pericles propounds, and whether we fall short or have gone beyond it.”

LET us draw strength, not merely from twice-told arguments — how fair and noble a thing it is to show courage in battle — but from the busy spectacle of our great city’s life as we have it before us day by day, falling in love with her as we see her, and remembering that all this greatness she owes to men with the fighter’s daring, the wise man’s understanding of his duty, and the good man’s self-discipline in its performance — to men who sacrificed their lives as the best offerings on her behalf.

So they gave their bodies to the commonwealth and received each for his own memory praise that will never die and with it the grandest of all sepulchres, not that in which their mortal bones are laid but a home in the minds of men where their glory remains afresh to stir to speech or action as the occasion comes by. For the whole earth is the sepulchre of famous men; and their story is not graven only on stone over their native earth, but lives on far away, without visible symbol, woven into the stuff of other men’s lives. For you now it remains to rival what they have done.*

Copy Book

* This superb speech helped cement Pericles’s place in the hearts of Athenians, but he was unsentimentally cast aside as soon as things did not go so well. See Pericles and the Fickle Public of Athens.

Précis

Pericles went on to say that the most fitting monument for the fallen of Athens was not the place where they were buried, however grand, but the minds of Athenians — so long as the living matched the dead in courage, duty and self-discipline, and cherished the ideals for which they had made the ultimate sacrifice. (56 / 60 words)

Source

From the ‘History of the Peloponnesian War’ by Thucydides (?460-?404 BC), translated by Sir Alfred Eckhard Zimmern (1879-1957) and reproduced in ‘The Pageant of Greece’ (1923) by Sir Richard Winn Livingstone (1880-1960).

Suggested Music

1 2

Irish Suite

2. The Minstrel Boy

Leroy Anderson (1908-1975)

Performed by the BBC Concert Orchestra, conducted by Leonard Slatkin.

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Transcript / Notes

The Minstrel Boy

The Minstrel-Boy to the war is gone,
In the ranks of death you’ll find him;
His father’s sword he has girded on,
And his wild harp slung behind him.
“Land of song!” said the warrior-bard,
“Tho’ all the world betrays thee,
One sword, at least, thy rights shall guard,
One faithful harp shall praise thee!”

The Minstrel fell!—but the foeman’s chain
Could not bring that proud soul under;
The harp he lov’d ne’er spoke again,
For he tore its chords asunder;
And said, “No chains shall sully thee,
Thou soul of love and bravery!
Thy songs were made for the pure and free,
They shall never sound in slavery.”

In the film The Man Who Would Be King (1975) the tune is set to the words of the following hymn by Reginald Heber (1783-1826), Bishop of Calcutta, and is sung by Dan Dravot as he goes to his death. In the original story by Rudyard Kipling (1888), the hymn is sung (without any indication of the tune) by Dan’s friend Peachey Carnehan right at the end of the tale as he is going mad, as if it has meant something to him for a long time.

THE Son of God goes forth to war,
a kingly crown to gain;
his blood red banner streams afar:
who follows in his train?
Who best can drink his cup of woe,
triumphant over pain,
who patient bears his cross below,
he follows in his train.

That martyr first [St Stephen], whose eagle eye
could pierce beyond the grave;
who saw his Master in the sky,
and called on him to save.
Like him, with pardon on his tongue,
in midst of mortal pain,
he prayed for them that did the wrong:
who follows in his train?

A glorious band [the Apostles], the chosen few
on whom the Spirit came;
twelve valiant saints, their hope they knew,
and mocked the cross and flame.
They met the tyrant’s brandished steel,
the lion’s gory mane;
they bowed their heads the death to feel:
who follows in their train?

A noble army, men and boys,
the matron and the maid,
around the Saviour’s throne rejoice,
in robes of light arrayed.
They climbed the steep ascent of heaven,
through peril, toil and pain;
O God, to us may grace be given,
to follow in their train.

Scottish Suite

2. Turn ye to me

Leroy Anderson (1908-1975)

Performed by the BBC Concert Orchestra, conducted by Leonard Slatkin.

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Transcript / Notes

The stars are shining cheerily, cheerily,
Horo, Mhairi dhu, turn ye to me.
The sea mew [gull] is moaning drearily, drearily,
Horo, Mhairi dhu, turn ye to me.

Cold is the stormwind that ruffles his breast
But warm are the downy plumes lining his nest
Cold blows the storm there,
Soft falls the snow there,
Horo, Mhairi dhu, turn ye to me.

The waves are dancing merrily, merrily,
Horo, Mhairi dhu, turn ye to me.
The seabirds are wailing wearily, wearily,
Horo, Mhairi dhu, turn ye to me.

Hushed be thy moaning, lone bird of the sea;
Thy home on the rocks is a shelter to thee;
Thy home is the angry wave,
Mine but the lonely grave
Horo, Mhairi dhu, turn ye to me.

Words by John Wilson (1785-1854), under the pseudonym Christopher North.

How To Use This Passage

You can use this passage to help improve your command of English.

IRead it aloud, twice or more. IISummarise it in one sentence of up to 30 words. IIISummarise it in one paragraph of 40-80 words. IVMake notes on the passage, and reconstruct the original from them later on. VJot down any unfamiliar words, and make your own sentences with them later. VIMake a note of any words that surprise or impress you, and ask yourself what meaning they add to the words you would have expected to see. VIITurn any old-fashioned English into modern English. VIIITurn prose into verse, and verse into prose. IXAsk yourself what the author is trying to get you to feel or think. XHow would an artist or a photographer capture the scene? XIHow would a movie director shoot it, or a composer write incidental music for it?

For these and more ideas, see How to Use The Copy Book.

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