“Crates, Cynic” — Marcel Schwob

“Crates, Cynic”

by

Marcel Schwob

translated by Lorimer Hammond

from Imaginary Lives


Born at Thebes, he was a disciple of Diogenes and he also knew Alexander. From his father, a wealthy man named Ascondas, he inherited two hundred talents. Then one day, while attending a tragedy by Euripides, he beheld a vision. He saw Telephy, King of Mysia, dressed in beggar’s rags with a basket in his hand. So Crates stood up on his feet there in the theatre, declaring he would give the two hundred talents of his inheritance to all who wanted the money. Henceforth, he said, the garb of King Telephy would suffice him. Shaking with laughter, the Thebans troop before his house where they found him laughing even louder than they. After throwing all his money and furniture out of the windows he took up a plain cloak and leather sack and went away.

He went to Athens. In that city he spent his days walking the streets and his nights crouching against dirty walls. He put the doctrines of Diogenes into practice, all except the barrel. Crates thought even the barrel a superfluous dwelling. For a man, he contended, is neither a snail nor a Bernardine hermit.

He lived stark naked in the filth of the streets, filling his sack with dry crusts, rancid olives, and fish bones. He called the sack his city, a city without parasites or courtesans, he said, but a fine storehouse of thyme, garlic, figs, and bread for its king. So Crates carried his kingdom on his back and it fed him.

Though he never took part in public affairs, he never criticized them. He launched no insults nor did he approve this trait in Diogenes. Diogenes would call out, “Men, come to me!”, then rap them with his cane when they came, saying, “I called for men, not excrements!”

Crates was kind to men. He reproached them with nothing. Sores and wounds he knew, and his greatest regret was that his body were not supple like a dog’s so that he might lick them. He also deplored the necessity of nourishing himself with food and drink, for man, he thought, should be sufficient unto himself, asking no aid from the world. At any rate, he never hunted for water to wash in, being content to scratch himself against the walls after seeing how the asses did it. He seldom spoke of gods or questioned them. What difference did it make, said he, if there were gods or none, knowing as he did how little they could do for him. At first he reproached these divinities with having turned men’s faces toward heaven, thus depriving them of the faculties enjoyed by animals on all fours. Since these gods have decided that we must eat to live, thought Crates, they might better have turned our faces to the earth where food is, instead of twisting them up in the air to graze on the stars.

Life was not kind to Crates. His eyes grew bleary, exposed as they continually were to the acrid dusts of Attica, and an unknown skin plague covered his body with sores. While he scratched himself with his uncut nails he observed the twofold profit, as he called it, of wearing down these nails to their proper length while relieving his itch at the same time. He let his hair grow in a neglected mat on his head to protect him from the rain and sun.

When Alexander came to see him he flung no sharp gibes at the conqueror whom he considered merely as one with the spectators, acknowledging no difference between king and crowd. Crates no longer formed opinions about the great. Only men interested him, men and the problems of living his life as simply as possible. Diogenes with his chiding made Crates laugh no less than the pretensions of moral reformers. Holding himself infinitely above such sordid cares, he transcribed the maxim from the Delphian temple to read, “See Thyself”, and the idea of any knowledge whatsoever he thought absurd. He studied his bodily necessities, nothing more, striving always to reduce them to their simplest terms. Dog-like, Diogenes snapped at life, but Crates lived as the dogs lived.

He had a disciple named Metrocles, a wealthy young man from Marona. Hipparchia, sister of Metrocles, fell in love with Crates. Beautiful and aristocratic as she was, she was certainly the smitten one for she sought the cynic out. It seemed impossible but it was true, and nothing could turn her from him, neither his filthiness, nor his poverty, nor the horror of his public life. He warned her how he lived in the streets like a dog, scrambling for bones in the stench of gutters. He warned her further. If she came to him, he said, nothing of their life together should be hidden. He would want her publicly whenever desire prompted, as the dogs do among dogs. Hipparchia heard all. She declared she would end her own life if her parents interfered, so they let her go. She left the village of Marona with her hair unbound, a single ragged garment covering her nakedness. From that day she lived with Crates and dressed as he dressed. It has been said that she bore him one child, and that the child was named Pasicles, though nothing authentic can be found of that incident.

Hipparchia was kind to the poor. Compassionate, she soothed the sick with her hands, cleansing their bloody wounds without repugnance. To her men became as sheep are to sheep or dogs to dogs. When nights were cold she and Crates slept close to other poor folk, sharing the warmth of their bodies. From the beasts they learned the wordless kindnesses of beasts. When men approached they held no
preferences… they were men and that sufficed.

We know nothing more of Crates’ wife; we are not told when she died or how. Metrocles, her brother, admired the cynic and imitated him, but Metrocles lacked tranquillity. Troubled continually by a flatulency he could not control, he resolved upon suicide. Learning of his ailment Crates went to him after first eating a quantity of lupine. When Metrocles confessed himself no longer able to support the disgrace of his infirmity, the cynic showed his disciple how all men are submitted by nature to the same evil. Upbraiding him because he had dared to be ashamed of others, Crates led Metrocles away and they lived long together in the streets of Athens, Hipparchia undoubtedly beside them. They talked little but were ashamed of nothing. When they lapped water from a puddle with the dogs the dogs respected them. They must have fought together over scraps of food, though the biographers fail to mention it. Crates died old, we know. We know he ended his days squatting among bales of goods in a shed belonging to a shopkeeper from Pirus, and that he finally refused to move from that spot even to pick up scraps of meat. We know he was found there one day starved to death.

Reading — Ishikawa Toraji

Reading, 1934 by Ishikawa Toraji (1875-1964)

“A Man Who Writes” — Russell Edson

“A Man Who Writes”

by

Russell Edson


A man had written head on his forehead, and hand on each hand, and foot on each foot.

His father said, stop stop stop, because the redundancy is like having two sons, which is two sons too many, as in the first instance which is one son too many.

The man said, may I write father on father?

Yes, said father, because one father is tired of bearing it all alone.

Mother said, I’m leaving if all these people come to dinner.

But the man wrote dinner all over the dinner.

When dinner was over father said to his son, will you write belch on my belch?

The man said, I will write God bless everyone on God.

Museum — Edith Rimmington

Museum, 1951 by Edith Rimmington (1902-1986)

By Her Hand — Jesse Mockrin

By Her Hand, 2025 by Jesse Mockrin (b. 1981)

Sunday Comix

From “Lost in the Andes!” by Carl Barks, Four Color Comics #223, 1949.

Woman Reading — Agnes Goodsir

Woman Reading, c. 1915 by Agnes Goodsir (1864-1939)

I knew that the American Empire in which I lived was approaching its imminent end, but I could not quite believe it | William T. Vollmann reports from Ukraine in “Drones and Decolonization”

William T. Vollmann has a new essay in Granta. “Drones and Decolonization” is reportage from the Russia-Ukraine war, but in typically Vollmannesque fashion the essay is also about a lot of other things (Joseph Roth, Isaac Babel, language and names, food, monuments, etc. — at one point Vollmann editorializes on his own habits to let his projects swell: “all Granta had commissioned was 5,000 words, and I would exceed expectations by submitting 40,000 words, which they would only be able to cut down so much”).

Here is the opening of the essay:

Some of her was Austria once, and part of her had been Poland. Starved and tortured by Stalinists into Soviet Republichood, then raped by Hitler’s Reich, she finally became some version of herself, but then V. Putin thought to annex her back into another empire: Re-Russify her! Give it to her good and hard, then beautify the corpse with a mask of iron!

Her de-Russifiers fought back, and not only with drones and artillery: Amputate the occupier’s monuments! Ban his writers, no matter how long ago they lived; rename his streets . . . ‘Little Father is no more,’ cried that Ukrainian, Russian, Polish or maybe Austro-Hungarian writer Joseph Roth. ‘Where is the czar? . . . What sort of world is this? A crooked world!’

I went to help her in my helpless way, with journalistic good intentions which sorrowed into love. From Berlin to Vienna I went, and then through the Czech Republic’s golden-red forests, which here and there burst into ultra-yellow blazes beneath an ever-darkening silver sky. I glimpsed long, gentle slopes of well-mown or -grazed green grass and I saw decrepit towns; then it was afternoon among Poland’s boarded-up brick buildings, with crew-cut young men lounging in packs while wearily beautiful old women dragged home heavy shopping bags. Passing through the town of Liszki I spied a church steeple graying in the twilight, and long after dark came the final border.

And I can’t help but share these lines from Vollmann’s conclusion (I do not think they constitute a so-called spoiler), which point out that our murder drones will one day come home to roost:

I knew that the American Empire in which I lived was approaching its imminent end, but I could not quite believe it. All those drones our corporations pimped out, when would they come to us to spread terror, agony and grief?

Odesa, photograph by William T. Vollmann

Manuel Mujica Lainez’s Bomarzo (Book acquired, 14 July 2025)

I’m always intrigued by any NYRB fatty that shows up at Biblioklept World Headquarters, and Manuel Mujica Lainez’s 1962 novel Bomarzo (translated by Gregory Rabassa) has especially piqued my interest. The back of this edition features praise from Roberto Bolaño:

[Bomarzo] is a novel that will make any reader happy…. It’s a novel about art and a novel about decadence, about the luxury of writing novels and about the exquisite uselessness of the novel…. And of course it’s also a novel to be read aloud, with the whole family gathered around.

I’d heard of the novel a few years ago, but hadn’t been able to track down a used copy, so it’s great that it’s back in print. Here’s NYRB’s description:

Pier Francesco Orsini, duke of Bomarzo, created a park of monsters in which the nightmares of the Renaissance are preserved, set in stone yet still writhingly alive. In Bomarzo, Manuel Mujica Lainez—one of the great Argentine novelists of the twentieth century—re-creates the dark and legendary duke as a brilliant memoirist recalling the trials and travails of his sixteenth-century life from a modern point of view (Freudian psychoanalysis and Lolita both put in an appearance) while ensconced in a city that sounds suspiciously like Mujica Lainez’s own Buenos Aires.

Bomarzo is a historical novel in the grand manner, a first-person portrait of an aristocratic hunchback bullied by his family and determined to prove a villain (a portrait so convincing that Edmund Wilson assumed it to be fact). It is also, of course, a commentary on such historical fictions. But above all it’s an immersive story told in a sumptuous style—a bit as if Proust were rewriting one of Poe’s Italian tales—as Gregory Rabassa’s translation (out of print for many years) conveys beautifully.

Sunday Comix

From “The Paradox Man, Ch. 2” by Barry Windsor-Smith, Storyteller, 1996

Drinker — Bill Hay

Drinker, 1989 by Bill Hay (b. 1956)

David Cronenberg visits the Criterion Closet

Hazardous Beauty — Jan Nelson

Hazardous Beauty, 1983 by Jan Nelson (b. 1955)

43 minutes of This Heat playing live in 1980

Chris Ware contributes to the U.S. Postal Service’s “250 Years of Delivering Stamps” collection; unites philatelists and pannapictagraphists

Chris Ware’s contribution to the U.S. Postal Service’s anniversary series is available in a few weeks. Stick one on a postcard and mail it to me.

Mass-market Monday | John Barth’s End of the Road

End of the Road, 1958, by John Barth. Avon Books (1960). No cover artist or designer credited. 158 pages.

I already owned a more attractive edition of John Barth’s The End of the Road (or End of the Road as the title is given in this edition), but I couldn’t pass up on the odd rounded corners.

Sunday Comix

Cover for Slow Death #2, 1970 by Jack Jackson and Dave Sheridan