And the arrows clashed on the shoulders of the angered god leaping; and he came like the night then sat apart from the ships and shot an arrow; and terrible was the clash from the silver bow." In "What Is Called Thinking?", Martin Heidegger addresses the paratactic nature of Classical Greek texts. Through analyzing a fragment from Parmenides (typically translated "One should both say and think that Being is") Heidegger argues that modern syntactic translations of paratactic Greek texts often leave the meaning obscured. He suggests multiple translations of the fragment that may more closely resemble the paratactic Greek original. These include "needful : the saying also thinking too : being : to be," and "Useful is the letting lie before us, the taking-to-heart, too: beings in Being." Heidegger points to a modern linguistic bias that places paratactic language beneath syntactic language; paratactic language is often viewed as "child-like" or "primitive". He argues that a paratactic sentence a child might say, such as "dog, woof-woof, bad" is not inherently less meaningful than its syntactic equivalent, like "dogs bark and can be dangerous." The term "parataxis" has also been appropriated by some cultural theorists to describe certain works of art or "cultural texts" in which a series of scenes or elements are presented side by side in no particular order or hierarchy. Examples might range from the collages of the dadaists and Robert Rauschenberg to many contemporary music videos. The traditional polyptych constitutes another example.