13 Quotes Tagged: homer

I also became a poet, and for one year lived in a Paradise of my own creation; I imagined that I also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated.

There are five dangerous faults which may affect a general:
(1) Recklessness, which leads to destruction;
(2) cowardice, which leads to capture;
(3) a hasty temper, which can be provoked by insults;
(4) a delicacy of honor which is sensitive to shame;
(5) over-solicitude for his men, which exposes him to worry and trouble.

Homer’s Iliad was the cultural encyclopedia of pre-literate Greece, the didactic vehicle that provided men with guidance for the management of their spiritual, ethical, and social lives.

Your Homer is here with me; mute or rather in fact deaf am I, in front of him. But I am happy to gaze upon him and often hug him and, sighing, say, 'Great man, how I would love to hear you!

"In the "Republic," Plato vigorously attacked the oral, poetized form as a vehicle for communicating knowledge. He pleaded for a more precise method of communication and classification ("The Ideas"), one which would favor the investigation of facts, principles of reality, human nature, and conduct. What the Greeks meant by "poetry" was radically different from what we mean by poetry. Their "poetic" expression was a product of a collective psyche and mind. The mimetic form, a technique that exploited rhythm, meter and music, achieved the desired psychological response in the listener. Listeners could memorize with greater ease what was sung than what was said. Plato attacked this method because it discouraged disputation and argument. It was in his opinion the chief obstacle to abstract, speculative reasoning - he called it "a poison, and an enemy of the people.

Epic art is founded on action, and the model of a society in which action could play out in greatest freedom was that of the heroic Greek period; so said Hegel, and he demonstrated it with The Iliad: even though Agamemnon was the prime king, other kings and princes chose freely to join him and, like Achilles, they were free to withdraw from the battle. Similarly the people joined with their princes of their own free will; there was no law that could force them; behavior was determined only by personal motives, the sense of honor, respect, humility before a more powerful figure, fascination with a hero's courage, and so on. The freedom to participate in the struggle and the freedom to desert it guaranteed every man his independence. In this way did action retain a personal quality and thus its poetic form.

Against this archaic world, the cradle of the epic, Hegel contrasts the society of his own period: organized into the state, equipped with a constitution, laws, a justice system, an omnipotent administration, ministries, a police force, and so on. The society imposes its moral principles on the individual, whose behavior is thus determined by far more anonymous wishes coming from the outside than by his own personality. And it is in such a world that the novel was born.

Your wanderer is a phantom from the boy's shore.

Mark you, he does not go; he sends his narrator;
he plays tricks with time because there are two journeys
in every odyssey, one on worried water,

the other crouched and motionless, without noise.
For both, the 'I' is a mast; a desk is a raft
for one, foaming with paper, and dipping the beak

of a pen in its foam, while an actual craft
carries the other to cities where people speak
a different language, or look at him differently,

while the sun rises from the other direction
with its unsettling shadows, but the right journey
is motionless; as the sea moves round an island

that appears to be moving, Jove moves round the heart
with encircling salt, and the slowly travelling hand
knows it returns to the port from which it must start.

Therefore, this is what this island has meant to you,
why my bust spoke, why the sea-swift was sent to you:
to circle yourself and your island with this art.

After so many years even the fire of passion dies, and with it what was believed the light of the truth. Who of us is able to say now whether Hector or Achilles was right, Agamemnon or Priam, when they fought over the beauty of a woman who is now dust and ashes?

The Iliad consists of nothing more than impressions and the use of impressions. An impression prompted Paris to carry off the wife of Menelaus, and an impression prompted Helen to go with him. If an impression, then, had prompted Menelaus to feel that it was a gain to be deprived of such a wife, what would have come about? Not only the Iliad would have been lost, but the Odyssey too!

It is always as it was between Achilles and Homer: one person has the experience, the sensation, the other describes it. A real writer only gives words to the affects and experiences of others; he is an artist in divining a great deal from the little that he has felt. Artist are by no means people of great passion, but they frequently present themselves as such, unconsciously sensing that others give greater credence to the passions they portray if the artist's own life testifies to his experience in this area. We need only let ourselves go, not control ourselves, give free play to our wrath or our desire, and the whole world immediately cries: how passionate he is! But there really is something significant in a deeply gnawing passion that consumes and often swallows up an individual: whoever experiences this surely does not describe it in dramas, music, or novels. Artists are frequently unbridled individuals, insofar, that is, as they are not artists: but that is something different.

"For a long time the human instinct to understand was thwarted by facile religious explanations, as in ancient Greece in the time of <a href="https://www.goodreads.com/search/search?q=Homer" rel="nofollow noopener" title="Homer">Homer</a>, where there were gods of the sky and the Earth, the thunderstorm, the oceans and the underworld, fire and time and love and war; where every tree and meadow had its dryad and maenad."

Better from evils, well foreseen, to run,
Than perish in the danger we may shun.