I N Ar~CmNT GREECe, in the city of Olympia, a sanctuary to Zeus was erected. That complex of buildings contained a stadium where the first Olympiad was held in 776 B.C. "Quite close to the entrance to the stadium are two altars; one they call Hermes of the Games, the other is the altar of Opportunity. I know that a hymn to Opportunity is one of the poems of Ion of Chios (b. 490 B.C.}; in the hymn, Opportunity is made out to be the youngest child of Zeus. 'u (Pausanias F1. 150 A.D.) Kalros personified opportunity, also translated as "psychological moment? '~ The uniqueness of Kairos' position is reflected in his being a child of the gods of Zeus, father and protector of the family; a son with its many significances; and the youngest with its unique implications. His specialness is further enhanced by the fact that his father Zeus was the youngest son of Cronos, who in turn was the youngest son of Heaven (Ouranos) and Earth (Gaea) who emerged from chaos, the Void, that existed before there was anything. Chaos comes from the Greek root, to gape, simply meaning open space. Kalros was a favorite subject in art, especially from the time of Lucippus of Sicyon. (FL about 328 B.C.) ~ He was later shown with a long forelock, while being bald behind. (Description of him in a poem by Possidippus of Pella F1. 270 B.C.) ~ Hence by a gross mistranslation of his name, we have the expression "to take time by the forelock. ''2 Kairos as the youngest is the newest, a beginning, what is most immanent, an opportunity, a chance, a psychological moment, an auspicious, a right time, llfe itself as it unfolds moment to moment. As you approach the stadium and the contests to take place there, you encounter and confront Kairos as he encounters and confronts you. The concept of Begegnung is evident as well as that we are dealing with an existential situation and one of deep importance. The audience were not univolved spectators but active participants, an aspect of the totality, as evidenced by the crucial role of the chorus in the Greek drama. These contests involved many dimensions of human being and creativity, not only athletics but poetry, drama and the dance. The setting and circumstances were dramatic, their import to honor and venerate the gods, while considerably affecting and influencing one's position and status in the polls. A person's whole existence was at stake in its individual, collective and cosmic aspects. These many dimensions of the coming events determined how essential it was that you know who Kalros was, what he looked like, and that you respond totally to the existential confrontation and seize him by the forelock where your grip was firm. One moment later as you passed him and he passed you, it was too late. To turn around for a second chance would put you in an almost ineffectual position of moving forward and backward at the same time; you would be in a very unbalanced condition and much worse, with your now limited resources available to you, you would face the bald back of his head and with no place to grab hold. What about "Hermes of the Games" opposite to Kairos? Also son of Zeus and of Maia, daughter of Atlas, "cunning from birth, the first day of his life Hermes invented the lyre, stole Apollo's cattle, impudently denied the theft and was reconciled to his older brother. ''2
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