“The great problem of man, how to live in conscioues harmony with himself, with his neighbor, and with the whole to which he belongs, admits of as many solutions as there are provinces in our Father's kingdom; and it is in this, and not in the material sphere, that individuals and nations display their divergences of character.”

— Theodor Mommsen

Vol. 1, pt. 1, Chapter 2: "Into Italy" Translated by W.P.Dickson.
The History of Rome - Volume 1
Context: The great problem of man, how to live in conscioues harmony with himself, with his neighbor, and with the whole to which he belongs, admits of as many solutions as there are provinces in our Father's kingdom; and it is in this, and not in the material sphere, that individuals and nations display their divergences of character. The exciting causes which gave rise to this intrinsic contrast must have been in the Græco-Italian period as yet wanting; it was not until the Hellenes and Italians separated that deep-seated diversity of mental character became manifest, the effects of which contiue to the present day. The family and the state, religion and art, received in Italy and in Greece respectively a development so peculiar and so thoroughly national, that the common basis, on which in these respects also the two peoples rested, has been so overgrown as to be almost concealed from our view. That Hellenic character, which sacrificed the whole to its individual elements, the nation to the single state, and the single state to the citizen; whose ideal of life was the beautiful and the good; and, only too often, the pleasure of idleness; whose political development consisted in intensifying the original individualism of the several cantons, and subsequently led to the internal dissolution of the authority of the state; whose view of religion first invested its gods with human attributes, and then denied their existence; which gave full play to the limbs in the sports of the naked youth, and gave free scope to thought in all its grandeur and in all its awefulness;- and taht Roman character, which solemnly bound the son to reverence the father, the citizen to reverence the ruler, and all to reverence the gods; which required nothing; and honoured nothing, but the useful act, and compelled every citizen to fill up every moment of his brief life with unceasing work; which made it a duty even in the boy to modestly to cover the body; which deemed every one a bad citizen who wished to be different from his fellows; which viewed the states as all in all, and a desire for the state's extension as the only aspiration not liable to censure,- who can in thought trace back these sharply-marked contrasts to that original unity which embraced them both, prepared the way for their development, and at length produced them?

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The great problem of man, how to live in conscioues harmony with himself, with his neighbor, and with the whole to whic…" by Theodor Mommsen?

Theodor Mommsen 65

German classical scholar, historian, jurist, journalist, po… 1817–1903

Related quotes

“I believe that the unity of man as opposed to other living things derives from the fact that man is the conscious life of himself. Man is conscious of himself, of his future, which is death, of his smallness, of his impotence; he is aware of others as others; man is in nature, subject to its laws even if he transcends it with his thought.”

Erich Fromm (1900–1980) German social psychologist and psychoanalyst

Credo (1965)

“Many a man can save himself if he admits he's done wrong and takes his punishment.”

Henrik Ibsen (1828–1906) Norwegian playwright, theatre director, and poet

Torvald Helmer, Act I
A Doll's House (1879)

“Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public.”

Sarah Bernhardt (1844–1923) French actress

The Art of the Theatre (1925), p. 171
Context: Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted.