Τὸ παρὸν νέο ἱστολόγιο εἶναι ἡ συνέχεια τοῦ παλαιοῦ μὲ τὸ ὁποῖο συνδέεσθε μέσῳ τῆς διευθύνσεως http://endiameseperioche.blogspot.gr

Τὰ ἄρθρα τοῦ παρόντος ἱστολογίου, ἀπὸ τὸ 2012 μέχρι τὸ 2017, ἐδημοσιεύοντο τακτικά, μαζὶ μὲ ἄλλα κείμενα τοῦ Κιτσίκη, στὴν ἀθηναϊκὴ ἡμερησία ἐφημερίδα "Ἐλεύθερη Ὥρα" καὶ ἐνεπλουτίζοντο μὲ ἐκτενῆ ἄρθρα, στὸ τριμηνιαῖο περιοδικὸ τοῦ Δημήτρη Κιτσίκη, ποὺ φέρει τὸν ἴδιο τίτλο μὲ τὸ ἱστολόγιο, δηλαδὴ "Ἐνδιάμεση Περιοχή" (http://www.intermediateregion.com), περιοδικὸ τὸ ὁποῖο δημοσιεύεται ἀνελλιπῶς ἀπὸ τὸ 1996.
Ὁ Κιτσίκης ἐδημοσίευε ἐπίσης τακτικά, μακροσκελῆ ἄρθρα, ἀπὸ τὸ 1999 μέχρι τὸ 2017 καὶ τὸν θάνατο τοῦ ἐκδότου του Παύλου Βουδούρη, στὸ ἀθηναϊκὸ μηνιαῖο περιοδικὸ "Τρίτο Μάτι".

Βλέπε καὶ μία συνέντευξη, ἐφ'ὅλης τῆς ὕλης τοῦ Κιτσίκη στὸ lifo.gr



Γιὰ ὅσους διαβάζουν γαλλικά,εἰσέρχεσθε στὸ παρακάτω ἱστολόγιο
γιὰ νὰ διαβάσετε ἄρθρα τοῦ Κιτσίκη

Στὸ παρὸν ἱστολόγιο ἀπαγορεύεται ῥητῶς ἡ ἔκφρασις ἀπὸ τοὺς σχολιαστὲς ἀντικομμουνισμοῦ ἤ ἀντιφασισμοῦ

Ἔλλειψις σεβασμοῦ θεωρεῖται ἀνάρτησις σχολιασμοῦ ὡς ἀνωνύμου ἤ unknown. Ἐσεῖς θὰἀπαντούσατε στὸ τηλέφωνο σὲ κάποιον ποὺ θὰ ἠρνεῖτο νὰ δὠσῃ τὸ ὄνομά του;
Showing posts with label Ἑβραῖοι. Show all posts
Showing posts with label Ἑβραῖοι. Show all posts

Jul 12, 2021

769 - Ἑβραϊκὸς γάμος

 




769 - Ἑβραϊκὸς γάμος

file:///C:/Users/Dimitri/Desktop/Jewish%20marriage.pdf

Jewish wedding is a wedding ceremony that follows Jewish laws and traditions.

While wedding ceremonies vary, common features of a Jewish wedding include a ketubah (marriage contract) which is signed by two witnesses, a chuppah (or huppah; wedding canopy), a ring owned by the groom that is given to the bride under the canopy, and the breaking of a glass.

Technically, the Jewish wedding process has two distinct stages: kiddushin (sanctification or dedication, also called erusinbetrothal in Hebrew) and nissuin (marriage), when the couple start their life together. The first stage prohibits the woman to all other men, requiring a get (religious divorce) to dissolve, and the final stage permits the couple to each other. The ceremony that accomplishes nissuin is known as chuppah.

Today, erusin/kiddushin occurs when the groom gives the bride a ring or other object of value with the intent of creating a marriage. There are differing opinions as to which part of the ceremony constitutes nissuin/chuppah; they include standing under the canopy - itself called a chuppah - and being alone together in a room (yichud). While historically these two events could take place as much as a year apart, they are now commonly combined into one ceremony.

Before the wedding ceremony, the groom agrees to be bound by the terms of the ketubah (marriage contract) in the presence of two witnesses, whereupon the witnesses sign the ketubah. The ketubah details the obligations of the groom to the bride, among which are food, clothing, and marital relations. This document has the standing of a legally binding agreement, though it may be hard to collect these amounts in a secular court. It is often written as an illuminated manuscript that is framed and displayed in their home. Under the chuppah, it is traditional to read the signed ketubah aloud, usually in the Aramaic original, but sometimes in translation. Traditionally, this is done to separate the two basic parts of the wedding. Non-Orthodox Jewish couples may opt for a bilingual ketubah, or for a shortened version to be read out.

A traditional Jewish wedding ceremony takes place under a chuppah (wedding canopy), symbolizing the new home being built by the couple when they become husband and wife.[8][9]

Jewish Wedding, Venice, 1780 Musée d'Art et d'Histoire du Judaïsme

Prior to the ceremony, Ashkenazi Jews have a custom to cover the face of the bride (usually with a veil), and a prayer is often said for her based on the words spoken to Rebecca in Genesis 24:60. The veiling ritual is known in Yiddish as badeken. Various reasons are given for the veil and the ceremony, a commonly accepted reason is that it reminds the Jewish people of how Jacob was tricked by Laban into marrying Leah before Rachel, as her face was covered by her veil (see Vayetze).Another reasoning is that Rebecca is said to have veiled herself when approached by Isaac, who would become her husband. Sephardi Jews do not perform this ceremony. Additionally, the veil emphasizes that the groom is not solely interested in the bride's external beauty, which fades with time; but rather in her inner beauty which she will never lose.

In many Orthodox Jewish communities, the bride is escorted to the chuppah by both mothers, and the groom is escorted by both fathers, known by Ashkenazi Jews as unterfirers (Yiddish: "Ones who lead under"). In another custom, bride and groom are each escorted by their respective parents. However, the escorts may be any happily married couple, if parents are unavailable or undesired for some reason. There is a custom in some Ashkenazi communities for the escorts to hold candles as they process to the chuppah.

Plain gold wedding bands
Outdoor huppa in Vienna
A groom breaking the glass
Dances at a Jewish wedding in Morocco, early 19th century
1893 painting of a marriage procession in a Russian shtetl
by Isaak Asknaziy

In Ashkenazi tradition, the bride traditionally walks around the groom three or seven times when she arrives at the chuppah. This may derive from Jeremiah 31:22, "A woman shall surround a man". The three circuits may represent the three virtues of marriage: righteousness, justice and loving kindness (see Hosea 2:19). Seven circuits derives from the Biblical concept that seven denotes perfection or completeness. Sephardic Jews do not perform this ceremony.

Increasingly, it is common in liberal or progressive Jewish communities (especially ReformReconstructionist, or Humanistic) to modify this custom for the sake of egalitarianism, or for a same-gender couple. One adaptation of this tradition is for the bride to circle the groom three times, then for the groom to circle his bride three times, and then for each to circle each other (as in a do-si-do). The symbolism of the circling has been reinterpreted to signify the centrality of one spouse to the other, or to represent the four imahot (matriarchs) and three avot (patriarchs).

In traditional weddings, two blessings are recited before the betrothal; a blessing over wine, and the betrothal blessing, which is specified in the Talmud. The wine is then tasted by the couple.

Rings are not actually required; they are simply the most common way (since the Middle Ages) of fulfilling the bride price requirement. The bride price (or ring) must have a monetary value no less than a single prutah (the smallest denomination of currency used during the Talmudic era). The low value is to ensure that there are no financial barriers to access marriage.

According to Jewish law, the ring must be composed of solid metal (gold or silver are preferred; alloys are discouraged), with no jewel inlays or gem settings, so that it's easy to ascertain the ring's value. Others ascribe a more symbolic meaning, saying that the ring represents the ideal of purity and honesty in a relationship. However, it's quite common for Jewish couples (especially those who are not Orthodox) to use weddings rings with engraving, metallic embellishments, or to go a step further and use gemstone settings. Some Orthodox couples will use a simple gold or silver band during the ceremony to fulfill the halachic obligations, and after the wedding, the bride may wear a ring with any decoration she likes.

The groom gives the bride a ring, traditionally a plain wedding band, and recites the declaration: Behold, you are consecrated to me with this ring according to the law of Moses and Israel. The groom places the ring on the bride's right index finger. According to traditional Jewish law, two valid witnesses must see him place the ring.

During some egalitarian weddings, the bride will also present a ring to the groom,often with a quote from the Song of Songs: "Ani l'dodi, ve dodi li" (I am my beloved's and my beloved is mine), which may also be inscribed on the ring itself. This ring is sometimes presented outside the chuppah to avoid conflicts with Jewish law

The Sheva Brachot or seven blessings are recited by the hazzan or rabbi, or by select guests who are called up individually. Being called upon to recite one of the seven blessings is considered an honour. The groom is given the cup of wine to drink from after the seven blessings. The bride also drinks the wine. In some traditions, the cup will be held to the lips of the groom by his new father-in-law and to the lips of the bride by her new mother-in-law. Traditions vary as to whether additional songs are sung before the seven blessings.

After the bride has been given the ring, or at the end of the ceremony (depending on local custom), the groom breaks a glass, crushing it with his right foot, and the guests shout: "Mazal Tov!" (Hebrew: "congratulations"). At some contemporary weddings, a lightbulb may be substituted because it is thinner and more easily broken, and it makes a louder popping sound.

The origin of this custom is unknown, although many reasons have been given. The primary reason is that joy must always be tempered. This is based on two accounts in the Talmud of rabbis who, upon seeing that their son's wedding celebration was getting out of hand, broke a vessel – in the second case a glass – to calm things down.Another explanation is that it is a reminder that despite the joy, Jews still mourn the destruction of the Temple in Jerusalem. Because of this, some recite the verses "If I forget thee / O Jerusalem..." (Ps. 137:5) at this point. Many other reasons have been given by traditional authorities.

Former Sephardic Chief Rabbi of Israel Ovadia Yosef has strongly criticized the way this custom is sometimes carried out, arguing that "Many unknowledgeable people fill their mouths with laughter during the breaking of the glass, shouting 'mazel tov' and turning a beautiful custom meant to express our sorrow" over Jerusalem's destruction "into an opportunity for lightheadedness."Reform Judaism has a new custom where brides and grooms break the wine glass together.

Yichud (togetherness or seclusion) refers to the Ashkenazi practice of leaving the bride and groom alone for 10–20 minutes after the wedding ceremony. The couple retreats to a private room. Yichud can take place anywhere, from a rabbi's study to a synagogue classroom. The reason for yichud is that according to several authorities, standing under the canopy alone does not constitute chuppah, and seclusion is necessary to complete the wedding ceremony. However, Sephardic Jews do not have this custom, as they consider it a davar mechoar (repugnant thing), compromising the couple's modesty.

In Yemen, the Jewish practice was not for the groom and his bride to be secluded in a canopy (chuppah), as is widely practiced today in Jewish weddings, but rather in a bridal chamber that was, in effect, a highly decorated room in the house of the groom. This room was traditionally decorated with large hanging sheets of colored, patterned cloth, replete with wall cushions and short-length mattresses for reclining. Their marriage is consummated when they have been left together alone in this room. The chuppah is described the same way in Sefer HaIttur (12th century), and similarly in the Jerusalem Talmud.

Dancing is a major feature of Jewish weddings. It is customary for the guests to dance in front of the seated couple and entertain them. Traditional Ashkenazi dances include:The Krenzl, in which the bride's mother is crowned with a wreath of flowers as her daughters dance around her (traditionally at the wedding of the mother's last unwed daughter).The Mizinke, a dance for the parents of the bride or groom when their last child is wed.The Horah, a circle dance. Dancers link arms or hold hands, and move with a grapevine step. In large groups, concentric circles may be formed The gladdening of the bride, in which guests dance around the bride, and can include the use of "shtick"—silly items such as signs, banners, costumes, confetti, and jump ropes made of table napkins.The Mitzvah tantz, in which family members and honored rabbis are invited to dance in front of the bride (or sometimes with the bride in the case of a father or grandfather), often holding a gartel, and then dancing with the groom. At the end the bride and groom dance together themselves. After the meal, Birkat Hamazon (Grace after meals) is recited, followed by sheva brachot. At a wedding banquet, the wording of the blessings preceding Birkat Hamazon is slightly different from the everyday version. Prayer booklets called bentshers may be handed out to guests. After the prayers, the blessing over the wine is recited, with two glasses of wine poured together into a third, symbolising the creation of a new life together.In present times, Jewish rabbinical bodies have developed Jewish prenuptial agreements designed to prevent the husband from withholding a get from his wife, should she want a divorce. Such documents have been developed and widely used in the United States, Israel, the United Kingdom and other places. However, this approach has not been universally accepted, particularly by the Orthodox.Conservative Judaism developed the Lieberman clause in order to prevent husbands from refusing to give their wives a get. To do this, the ketubah has built in provisions; so, if predetermined circumstances occur, the divorce goes into effect immediately.TimingWeddings should not be performed on Shabbat or on Jewish holidays, including Chol HaMoed. The period of the counting of the omer and the three weeks are also prohibited, although customs vary regarding part of these periods. Some months and days are considered more or less auspicious.(Wikipedia)

Δημήτρης Κιτσίκης     12 Ἰουλίου 2021






Nov 1, 2020

650 - Ῥουσσῶ, ὁ προάγγελος του κράτους τοῦ Ἰσραήλ


 650 - Ῥουσσῶ, ὁ προάγγελος του κράτους τοῦ Ἰσραήλ

Ἑνάμισυ αἰῶνα πρὸ τοῦ προφήτου τοῦ σιωνισμοῦ ποὺ ἵδρυσε τὸ κράτος τοῦ Ἰσραὴλ τὸ 1948, τὸν Χέρτζλ,  ὁ Ῥουσσῶ τοῦ ὁποίου αἰσθάνομαι ὡς ἡ μετενσάρκωσις, ἀπήτησε τὴν συγκρότησι ἀνεξαρτήτου κράτους τοῦ Ἰσραήλ. Ἀπὸ τὴν ὑπὸ ἔκδοσιν μελέτη μου ἐπὶ τοῦ θέματος, ἀνασύρω τὰ συνταρακτικὰ τοῦτα λόγια τοῦ προφήτου τῶν νέων καιρῶν, γραμμένα τὸ 1762:

«Οἱ δύστυχοι ἑβραῖοι αἰσθάνονται πὼς ἐξαρτῶνται ἀπὸ τὴν αὐθαιρεσία μας. Ἡ τυραννία ποὺ χρησιμοποιοῦμε ἐναντίον τους μᾶς τοὺς κάνει φοβισμένους. Γνωρίζουν πόσον ὀλίγον κοστίζει ἡ ἀδικία καὶ ἡ σκληρότης στὴν χριστιανικὴ ἐλεημοσύνη. Τὶ θὰ ἠδύναντο νὰ εἴπουν χωρὶς νὰ διακινδυνεύσουν νὰ τοὺς κατηγορήσωμεν γιὰ βλαφημία; Ἡ ἀπληστία μᾶς δίδει ζῆλο καὶ εἶναι ὑπερβολικὰ πλούσιοι γιὰ νὰ μὴν εἶναι ἔνοχοι. Οἱ πλέον σοφοὶ, οἱ πλέον συνετοὶ εἶναι πάντα οἱ πλέον προσεκτικοί. Θὰ μεταστρέψετε μόνον κάποιον κακομοίρη, πληρωμένο γιὰ νὰ συκοφαντίσῃ τὴν θρησκεία του... Δὲν θὰ δυνηθῶ ποτὲ νὰ καταλάβω καλὰ τὰ ἐπιχειρήματα τῶν Ἑβραίων προτοῦ ἀποκτήσουν ἕνα ἐλεύθερο κράτος, σχολεῖα, πανεπιστήμια στὰ ὁποῖα νὰ δύνανται νὰ συζητήσουν καὶ νὰ ἐπιχειρηματολογήσουν χωρὶς φόβο. Τότε μόνον θὰ δυνηθῶμεν νὰ γνωρίζωμεν τὶ ἔχουν νὰ εἴπουν».

Δημήτρης Κιτσίκης            1η  Νοεμβρίου  2020

 

Sep 5, 2020

625 – Πάλι μὲ χρόνια καὶ καιροὺς πάλι δικά μας θἆναι


Ἡ Πόλις ὡς Νέα Ἱερουσαλήμ

625 – Πάλι μὲ χρόνια καὶ καιροὺς πάλι δικά μας θἆναι

Ἀπὸ τὶς φαντασιώσεις τοῦ 1453 στὶς καθημερινὲς προφητεῖες τῆς καθημερινῆς ἀθηναϊκῆς ἑφημερίδος Ἐλεύθερη Ὥρα ἡ ἐπιστροφὴ στὴν Κωνσταντινούπολι τοῦ Γένους τῶν Ἑλλήνων καλὰ κρατεῖ. Τὸ Γένος τῶν Ἑβραίων μετὰ ἀπὸ δύο χιλιετίες ἐπέστρεψε στὴν Ἱερουσαλήμ. Γιατὶ ὄχι λοιπὸν καὶ οἱ Ῥωμηοὶ-Ῥωμαῖοι στὴν Κωνσταντινούπολι;

Ἕνα σημερινὸ ἄρθρο τοῦ Βήματος, τοῦ φιλολόγου Κίμωνος Βελιτζανίδη ἀνατρέχει στὰ πρῶτα χρόνια τῆς φαντασιώσεως αὐτῆς:

«Ἕνα ἀπὸ τά πλέον γοητευτικὰ πεδία ἱστορικῆς ἔρευνας εἶναι ἐκεῖνος ὁ μεταιχμιακὸς χῶρος ὅπου πραγματικότητα καὶ ἐνδεχόμενο χωρίζονται ἀπὸ μιὰ πολὺ λεπτὴ – μὰ διακριτὴ – γραμμή. Φέρνω στὸν νοῦ μου, κυρίως, ἀποφάσεις οἱ ὁποῖες ἐλήφθησαν, ἀλλὰ δὲν πραγματώθηκαν ποτέ, εἴτε ἐπειδὴ ὑπῆρξε συνειδητὴ ἀλλαγὴ πλεύσης εἴτε ἐπειδὴ οἱ ἴδιες οἱ περιστάσεις ἄλλαξαν. Στὴ χώρα μας, ἀρεσκόμαστε συχνὰ νὰ κάνουμε λόγο γιὰ «χαμένες εὐκαιρίες», ὄχι πάντοτε ἄδικα. Τὶς περισσότερες, ὅμως, φορὲς φοβᾶμαι πὼς ἁπλῶς ἀρνούμαστε νὰ χαλιναγωγήσουμε ἱστορικὲς φαντασιώσεις καὶ ὑποκύπτουμε στὸν πειρασμὸ μιᾶς σαθρῆς βεβαιότητας.

»Μιὰ ἀπὸ τὶς φαντασιώσεις ποὺ πεισματικὰ ἐπανέρχονται στὸ θυμικό του ἑλληνισμοῦ εἶναι ἡ ἀνακατάληψη τῆς Κωνσταντινούπολης. Ἀκόμη καὶ σήμερα, «ἐπιτελάρχες» τοῦ καφενείου καὶ τῶν μέσων κοινωνικῆς δικτύωσης καταστρώνουν σχέδια καὶ δηλώνουν ἕτοιμοι γιὰ τὸ μεγάλο ὄνειρο. Τέτοια φαινόμενα δὲν ἦταν, βέβαια, πάντοτε παράλογα, οὔτε περιορίζονται στὴν ἐποχὴ μας τῆς ἀνερμάτιστης δημοσιολογίας. Ἡ Ἅλωση τοῦ 1453 παραμένει ἐν πολλοῖς τὸ μεγάλο ἀνεπούλωτο τραῦμα τῆς ἱστορίας μας καὶ ἡ ἀνατροπὴ του εἶχε ἐνίοτε ρεαλιστικὲς προοπτικές, τὸ 1878 καὶ τὸ 1920 ἐπὶ παραδείγματι.

»Ἄλλωστε, ἤδη στὰ πρῶτα χρόνια ποὺ ἀκολούθησαν τὴν Ἅλωση μποροῦμε νὰ ἐντοπίσουμε συστηματικὲς – πλὴν ἀπέλπιδες – προσπάθειες τῶν τελευταίων Παλαιολόγων νὰ συγκροτήσουν στρατεύματα ἐναντίον τῶν Ὀθωμανῶν. Ἡ ὕστατη οὐσιαστικὴ ἀπόπειρα ἐκ μέρους τους ἦταν τὸ 1481, ὅταν ὁ Ἀνδρέας Παλαιολόγος μὲ μιὰ μικρὴ δύναμη, ἀποτελούμενη κυρίως ἀπὸ μισθοφόρους, στρατοπέδευσε στὸ Μπρίντιζι μὲ σκοπὸ νὰ πλεύσει ἀνατολικά. Δὲν ἀναχώρησε ποτὲ καί, ἐν τέλει, ἀναγκάστηκε νὰ πουλήσει τά δικαιώματα τῶν αὐτοκρατορικῶν του τίτλων δύο φορές, προκειμένου νὰ χρηματοδοτήσει νέες προσπάθειες, καταδικασμένες νὰ ἀποτύχουν.

»Ἔκτοτε, ὁ ξένος παράγων ἀπέκτησε ἀναβαθμισμένο ρόλο, τόσο στὸ πραγματικὸ ὅσο καὶ στὸ φαντασιακὸ ἐπίπεδο. Ἕνα ἀπὸ τά πιὸ ἐνδιαφέροντα καὶ ξεχασμένα κείμενα αὐτῆς τῆς μετὰ-βυζαντινῆς περιόδου εἶναι ἕνα στιχούργημα τὸ ὁποῖο ἀποδίδεται μὲ σχετικὴ βεβαιότητα στὸν Ἰωάννη Ἀξαγιώλη, πρωτοκόμητα τῆς Κορώνῃς. Γραμμένο γύρω στὰ 1550, τὸ ἔργο εἶναι ἐπὶ τῆς οὐσίας μιὰ ἔκκληση πρὸς τὸν Αὐτοκράτορα τῆς Ἁγίας Ρωμαϊκῆς Αὐτοκρατορίας, Κάρολο Ε’, νὰ ἀναλάβει τὴν ἡγεσία μιᾶς σταυροφορίας μὲ σκοπὸ τὴν ἀνακατάληψη τῆς Κωνσταντινούπολης ἀπὸ τοὺς Ὀθωμανούς. Ἡ λογοτεχνικὴ ἀξία τοῦ ποιήματος εἶναι συζητήσιμη, μᾶς προσφέρει ὅμως μιὰ γραπτὴ μαρτυρία ἀπὸ μιὰ ἐξαιρετικὰ ἐνδιαφέρουσα μεταβατικὴ περίοδο, ὅπου το Βυζάντιο δὲν ἦταν μιὰ μακρινὴ ἀνάμνηση καὶ ἡ μακραίωνη ὀθωμανικὴ κυριαρχία δὲν ἦταν δεδομένη. Πυρὴνας τῆς ἀφήγησης εἶναι τὸ ἐγκώμιο τοῦ ἀψβούργου μονάρχη, ὁ ὁποῖος εἶχε ἤδη συγκρουστεῖ ἐπιτυχῶς μὲ τὸν σύγχρονό του Σουλτάνο, Σουλεϊμὰν Α’ τὸν μεγαλοπρεπῆ. Ἐπιπλέον, ὅμως, τὸ ποίημα ἔχει ἕναν προφητικό, ἀποκαλυπτικὸ σχεδὸν τόνο καὶ ἀνακυκλώνει μάλιστα ἕναν ἀπὸ τοὺς θρύλους τῆς ἐποχῆς, ὁ ὁποῖος θέλει θορυβημένους δερβίσηδες νὰ βεβαιώνουν πὼς ἄκουσαν ἀόρατες ψαλμῳδίες πρὸς τὴ Θεοτόκο στὴν – μετατραπεῖσα σὲ τζαμὶ – Ἁγία Σοφία. Plus ca change…

»Ὅπως γνωρίζουμε, ὁ Ἀξαγιώλης καὶ ἄλλοι Ἕλληνες τῆς περιόδου δὲν εἰσακούστηκαν καὶ ὁ Κάρολος δὲν ἐκστράτευσε πρὸς τὴν Κωνσταντινούπολη. Ἕναν περίπου αἰῶνα νωρίτερα, ὅμως, ἕνας ἄλλος εὐρωπαῖος ἡγεμόνας ἔφτασε πιὸ κοντὰ καί, μάλιστα, αὐτοβούλως. Στὶς 17 Φεβρουαρίου 1454 ἔλαβε χώρα στὴ Λὶλ τῆς σημερινῆς Γαλλίας ἕνα ἀξιοσημείωτο τελετουργικό. Ἐπρόκειτο γιὰ τὸ «δεῖπνο τοῦ φασιανοῦ», τὸ κύκνειο ᾆσμα τῆς ὕστερης μεσαιωνικῆς μυσταγωγίας. Τὸ ἐπίσημο αὐτὸ δεῖπνο διοργανώθηκε ἀπὸ τὸν Δοὺκα τῆς Βουργουνδίας, Φίλιππο Γ’, καὶ εἶχε ὡς σκοπὸ τὴν ὀργάνωση μιᾶς σταυροφορίας γιὰ τὴν πρόσφατα χαμένη στοὺς Ὀθωμανοὺς Κωνσταντινούπολη. Διασῴζονται ἀρκετὲς διηγήσεις ποὺ μεταφέρουν μὲ λεπτομέρεια τὴ μεγαλοπρέπεια καὶ τὴ χλιδὴ τῆς τελετῆς. Πλεῖστες ἦταν οἱ ἱστορικὲς ἀναφορὲς στὸν Ἡρακλῆ, στὸν Ἰάσονα καὶ στὸ χρυσόμαλλο δέρας, μὰ καὶ στὸν Ἅγιο Ἀνδρέα τὸν Πρωτόκλητο. Ἠθοποιοί, μουσικοὶ θρῆνοι γιὰ τὴν ἀπώλεια τῆς «μητέρας ἐκκλησίας» καὶ μηχανικοὶ ἐλέφαντες συμπλήρωναν τὸ σκηνικό. Στὸ τέλος τοῦ δείπνου, οἱ εὐγενεῖς συνδαιτυμόνες ἔδωσαν ἕναν ὅρκο, τὸν «ὅρκο τοῦ φασιανοῦ», κατὰ παράδοση τῶν μεσαιωνικῶν ἰπποτικῶν μυθιστοριῶν καὶ τῶν ἀντίστοιχων ὅρκων σὲ πτηνά. Ὁρκίστηκαν νὰ ὀργανώσουν τὴν σταυροφορία γιὰ νὰ ἀνακτήσουν τὴν Κωνσταντινούπολη γιὰ τὴ Χριστιανοσύνη. Ἡ σταυροφορία δὲν ἔγινε ποτέ.

»Ὁ ὁλλανδὸς στοχαστὴς Johan Huizinga στὸ βιβλίο του «Τὸ Φθινόπωρο τοῦ Μεσαίωνα» ἀναλύει τὸ «δεῖπνο τοῦ φασιανοῦ» ὡς μιὰ ἐκδήλωση παρακμῆς τοῦ ὕστερου δυτικοῦ μεσαίωνα. Διαβάζει σὲ αὐτὴ τὴ διεξοδικὴ τελετουργία ἕνα ἀμφίθυμο παιχνίδι, ὅπου οἱ ὅρκοι δὲν τηροῦνται μέν, ἀλλὰ ἐκφράζουν μιὰ εἰλικρινῆ προσκόλληση σὲ περασμένα ἱπποτικὰ ἰδανικά. Τὸ δεῖπνο εἶναι μιὰ ᾠδὴ στὸ τεχνητό, στὸ προσποιητό, προσεκτικὰ χορογραφημένη, ὅμως πρέπει νὰ τὴν πάρουμε στὰ σοβαρά, ὅπως ἔκαναν καὶ οἱ παριστάμενοι. Τέλος, γιὰ τὸν Huizinga, ὅλα αὐτὰ τά περίπλοκα παιχνίδια καὶ οἱ σύνθετες συνάξεις δὲν εἶναι παρὰ ἀπόπειρες διαφυγῆς ἀπὸ μία δυσοίωνη πραγματικότητα.

»Ἔχω τὴν αἴσθηση πὼς μιὰ ἀνάγνωση σὰν τοῦ Huizinga λείπει σήμερα, παρὰ τὸ γεγονὸς ὅτι ἐπιστημονικὰ δὲν εἶναι καθολικὰ ἀποδεκτή. Προσωπικῶς, δὲν ἀναζητῶ μαθήματα στὴν Ἱστορία, τουλάχιστον ὄχι περισσότερο ἀπὸ ὅ,τι ἀναζητῶ ἐνδιαφέρουσες ἱστορίες. Ἡ ἔλλειψη, ὅμως, ἱστορικῆς συνείδησης ἡ ὁποία συνοδεύει τὸν ἐθνικιστικὸ παροξυσμὸ τῆς τελευταίας περιόδου ὁμολογῶ πὼς μὲ φοβίζει. Δίνεται ἡ ἐντύπωση πὼς οἱ φαντασιώσεις ποὺ προαναφέραμε, αὐτὲς οἱ δικές μας ἀπόπειρες διαφυγῆς ἀπὸ τὴν πραγματικότητα, ἐπανέρχονται πλέον ἐκτός του ὅποιου ἱστορικοῦ περιεχομένου, ρεαλιστικοῦ ἢ καὶ φαντασιακοῦ ἀκόμη. Μιὰ ἀταβιστικὴ συνήθεια γιὰ τὸ δικό μας «φθινόπωρο»

Ἀπέναντι στοὺς Ἑβραίους ὑπῆρχε τὸ 1948 ἕνας παρηκμασμένος ἀραβικὸς λαὸς ποὺ ὅπως ἑλλαδικὸς  ἀνεπόλη τὶς παλαιὲς χαμένες δόξες. Ἀπέναντι στοὺς σημερινοὺς  Γραικύλους   -ἔτσι ὅπως τοὺς εἶχαν συναντήσει στὴν ἡπειρωτικὴ Ἑλλάδα οἱ Ῥωμαῖοι τοῦ 146 π.Χ. μέχρι σήμερα-  ὑπῆρξαν οἱ Ῥωμηοὶ-Ῥωμαῖοι ποὺ ἔκτισαν τὴν Κωνσταντινούπολι τὸ 330 μ.Χ., τὴν Βυζαντινὴ Αὐτοκρατορία καὶ τὴν Ὀθωμανικὴ Αὐτοκρατορία. νεκρανάστασις τῶν Ἑλλήνων μὲ φραγκικὲς βιταμῖνες τὸ 1821 ποὺ μᾶς κατήντησαν ἐφάμιλους τῶν Ἀράβων, δὲν ἐξαφάνισαν τοὺς Ῥωμηοὺς-Ῥωμαίους στὴν Κωνσταντινούπολι ποὺ σήμερα συνεχίζουν νὰ μάχονται κατὰ τῶν Φράγκων μὲ συγχρόνους Ῥωμηοὺς σουλτάνους ὅπως Ἔρντογαν.

Ἡ Πόλις, ὡς βασιλίδα τῶν Πόλεων καὶ ὡς Νέα Ἱερουσαλὴμ εἶναι σήμερα σὲ καλὰ χέρια καὶ πάλι μὲ χρόνια καὶ καιροὺς πάλι δική μας θἆναι ὡς πρωτεύουσα τῆς Αὐτοκρατορίας, ἐγκαταλείποντας τὶς ἐπαρχιακὲς πόλεις τῶν Ἀθηνῶν καὶ τῆς Ἀγκύρας.

Δημήτρης Κιτσίκης                                       5 Σεπτεμβρίου 2020


ΓΟΧ - ΓΝΗΣΙΟΙ ΟΡΘΟΔΟΞΟΙ ΧΡΙΣΤΙΑΝΟΙ:

Πατὴρ Γεώργιος Μεταλληνὸς καὶ Δημήτρης Κιτσίκης

Περιοδικὸ τῶν ΓΟΧ :  Orthodox Tradition (Etna, California, USA)





 Τὸ Νέο Ἡμερολόγιο ἐπεβλήθη ἀπὸ τὴν στρατιωτικὴ βενιζελικὴ χούντα τῶν Πλαστήρα καὶ Γονατᾶ, τὸ 1923, ὑπὸ τὴν ἀπειλὴ τῶν ὅπλων, γιὰ νὰ εὐθυγραμμισθῇ ἡ Ἑλλὰς μὲ τὴν Δύσι, τὸν Πάπα καὶ τοὺς Φράγκους. Ἡ Ἐκκλησία ὑπῆρξε θύμα τοῦ βενιζελικοῦ ἐθνικισμοῦ. Δυστυχῶς ἀργότερα οἱ παραμείναντες πιστοὶ στὴν Ὀρθοδοξία, οἱ ΓΟΧ, ὑπέπεσαν καὶ αὐτοὶ στὴν ὑψίστη ἁμαρτία τοῦ ἐθνικισμοῦ τοῦ ἀθηναϊκοῦ ἐθνοκράτους καὶ γι αὐτὸ κατετμήθησαν σὲ πολλὲς φρατρίες. Δημήτρης Κιτσίκης