Homer Famous Quotes

Helen Keller was to have been present last night but she is ill in bed, and has been ill in bed during several weeks, through overwork in the interest of the blind, the deaf, and the dumb. I need not go into any particulars about Helen Keller. She is fellow to Caesar, Alexander, Napoleon, Homer, Shakspeare, and the rest of the immortals. She will be as famous a thousand years from now as she is to-day.

They were polytheistic, and the name for their most securely reconstructible deity relates to the word for “sky.” Their word for human, on the other hand, was derived from their word for “earth” or “land.” Their poetry revolved around themes of fertility, reciprocity, immortality, and heroic deeds; a single famous phrase, best known to us from the Homeric epics, is glossed as “imperishable fame.

While altering the saga of Odysseus’s Return to make my Elyman suitors serve as Penelope’s lovers, I had to protect myself against scandal. What if someone recognized the story and supposed that I, Nausicaa the irreproachable, had played the promiscuous harlot in my father’s absence? So, according to my poem, Penelope must have remained faithful to Odysseus throughout those twenty years. And because this change meant that Aphrodite had failed to take her traditional revenge, I must make Poseidon, not her, the enemy who delayed him on his homeward voyage after the Fall of Troy. I should therefore have to omit the stories of Penelope’s banishment and the oar mistaken for a flail, and Odysseus’s death from Telemachus’s sting-ray spear. When I told Phemius of these decisions, he pointed out, rather nastily, that since Poseidon had fought for the Greeks against the Trojans, and since Odysseus had never failed to honour him, I must justify this enmity by some anecdote. “Very well,” I answered. “Odysseus blinded a Cyclops who, happening to be Poseidon’s son, prayed to him for vengeance.” “My dear Princess, every Cyclops in the smithies of Etna was born to Uranus, Poseidon’s grandfather, by Mother Earth.” “Mine was an exceptional Cyclops,” I snapped. “He claimed Poseidon as his father and kept sheep in a Sican cave, like Conturanus. I shall call him Polyphemus—that is, ‘famous’—to make my hearers think him a more important character than he really was.” “Such deceptions tangle the web of poetry.” “But if I offer Penelope as a shining example for wives to follow when their husbands are absent on long journeys, that will excuse the deception.

Our most heated argument concerned the preponderance of women in my epic and Athene’s ubiquity, and the precedence given to famous women when Odysseus meets the ghosts of the departed. I had mentioned only Tyro, Antiope, Alcmene, Jocasta, Chloris, Leda, Iphimedeia, Phaedra, Procris, Ariadne, Maera, Clymene and, naturally, Eriphyle, and let Odysseus describe them to Alcinous. “My dear Princess,” said Phemius, “if you really think that you can pass off this poem as the work of a man, you deceive yourself. A man would give pride of place to the ghosts of Agamemnon, Achilles, Ajax, Odysseus’s old comrades, and other more ancient heroes such as Minos, Orion, Tityus, Salmoneus, Tantalus, Sisyphus and Hercules; and mention their wives and mothers incidentally, if at all; and make at least one god help Odysseus at some stage or other.” I admitted the force of his argument, which explains why, now, Odysseus first meets a comrade who has fallen off a roof at Circe’s house—I call him Elpenor—and cracks a mild joke about Elpenor’s having come more quickly to the Grove of Persephone by land than he by sea. I also allow Alcinous to ask after Agamemnon, Achilles and the rest, and Odysseus to satisfy his curiosity. For Phemius’s sake I have even let Hermes supply the moly in passages adapted from my uncle Mentor’s story of Ulysses. In my original version I had given all the credit to Athene.

With Circe, I wanted to take a woman’s life and set it at the center of an epic story. Ancient epic almost exclusively features male protagonists, and the few women who appear are there mostly as cameo helpmeets, breeding stock, or obstacles to be overcome; their stories matter only in how they touch the hero’s. I wanted to flip the script, to make Odysseus the cameo and Circe the epic hero. I also deliberately included things that have been shut out of epic because they are considered traditionally female, like parenting, crafts, and childbirth. As anyone who’s ever lived through or witnessed childbirth can tell you, it is one of life’s more epic experiences. "Meanwhile, with The Song of Achilles, I wanted to do the opposite: take a story that was famously epic and tell it from a personal and intimate perspective. I was inspired by Homer in subject matter, but in tone I wanted to come more out of the tradition of the ancient lyric poets, including Sappho and Catullus.

Despite his earthbound approach and his preoccupation with scientific fact, Aristotle had an acute understanding of the nature and importance of religion and mythology. He pointed out that people who had become initiates in the various mystery religions were not required to learn any facts “but to experience certain emotions and to be put in a certain disposition.”35 Hence his famous literary theory that tragedy effected a purification (katharsis) of the emotions of terror and pity that amounted to an experience of rebirth. The Greek tragedies, which originally formed part of a religious festival, did not necessarily present a factual account of historical events but were attempting to reveal a more serious truth. Indeed, history was more trivial than poetry and myth: “The one describes what has happened, the other what might. Hence poetry is something more philosophic and serious than history; for poetry speaks of what is universal, history of what is particular.”36 There may or may not have been a historical Achilles or Oedipus, but the facts of their lives were irrelevant to the characters we have experienced in Homer and Sophocles, which express a different but more profound truth about the human condition. Aristotle’s account of the katharsis of tragedy was a philosophic presentation of a truth that Homo religiosus had always understood intuitively: a symbolic, mythical or ritual presentation of events that would be unendurable in daily life can redeem and transform them into something pure and even pleasurable.

What does the name of an author on the jacket matter? Let us move forward in thought to three thousand years from now. Who knows which books from our period will be saved, and who knows which authors’ names will be remembered? Some books will remain famous but will be considered anonymous works, as for us the epic of Gilgamesh; other authors’ names will still be well know, but none of their works will survive, as was the case with Socrates; or perhaps all the surviving books will be attributed to a single, mysterious author, like Homer.

As the modern scholar Alan Cameron has put it: ‘In 529 the philosophers of Athens were threatened with the destruction of their entire way of life.’ The Christians were behind this – yet you will search almost in vain for the word ‘Christian’ in most of the writings of the philosophers. That is not to say that evidence of them is not there. It is. The miasmatic presence of the religion is keenly felt on countless pages: it is Christians who are driving persecutions, torturing their colleagues, pushing philosophers into exile. Damascius and his fellow scholars loathed the religion and its uncompromising leaders. Even Damascius’s famously mild and gentle teacher, Isidore, ‘found them absolutely repulsive’; he considered them ‘irreparably polluted, and nothing whatever could constrain him to accept their company’. But the actual word Christian is missing. As if the very syllables were too distasteful for them to pronounce, the philosophers resorted to elaborate circumlocutions. At times, the names they gave them were muted. With a masterful understatement, the present system of Christian rule, with its torture, murder and persecution, was referred to as ‘the present situation’ or ‘the prevailing circumstances’. At another time the Christians became – perhaps a reference to those stolen and desecrated statues – ‘the people who move the immovable’. At other times the names were blunter: the Christians were ‘the vultures’ or, more simply still, ‘the tyrant’. Other phrases carried a contemptuous intellectual sneer. Greek literature is awash with hideously rebarbative creatures, and the philosophers turned to these to convey the horror of their situation: the Christians started to be referred to as ‘the Giants’ and the ‘Cyclops’. These particular names seem, at first sight, an odd choice. These are not the most repellent monsters in the Greek canon; Homer alone could have offered the man-eating monster Scylla as a more obvious insult. That would have missed the point. The Giants and the Cyclops of Greek myth aren’t terrible because they are not like men – they are terrible because they are. They belong to the uncanny valley of Greek monsters: they look, at first glance, like civilized humans yet they lack all the attributes of civilization. They are boorish, base, ill-educated, thuggish. They are almost men, but not quite – and all the more hideous for that. It was, for these philosophers, the perfect analogy. When that philosopher had been beaten till the blood ran down his back, the precise insult that he hurled at the judge had been: ‘There, Cyclops. Drink the wine, now that you have devoured the human flesh.

Some books will remain famous but will be considered anonymous works, as for us the epic of Gilgamesh; others author's names will still be known, but none of their works will survive, as was the case with Socrates; or perhaps, all the surviving books will be attributed to a single, mysterious author, like Homer.

Let us move forward in thought to three thousand years from now. Who knows which books from our period will be saved, and who knows which authors’ names will be remembered. Some books will remain famous but will be considered anonymous works, as for us the epic of Gilgamesh; others author's names will still be known, but none of their works will survive, as was the case with Socrates; or perhaps, all the surviving books will be attributed to a single, mysterious author, like Homer.

Eustathios of Thessalonica, the city’s bishop and famous for his commentaries on Homer, was struck by the exotic speech and costumes of visitors he encountered at the imperial court in the capital.

From the late eighteenth to the middle of the nineteenth century an influx of dilletantes, academics, artists, writers, travellers and eccentrics descended unto the barren plains of Greece to pick over the marble bones of the past in the hope of finding some meaningful connection with Homer and Thucydides. The Levantine Lunatics, as Lord Byron termed them, many of them British, but also Germans, French and other Westerners, went on to paint, record and loot the past. Marbles, such as those made famous by Lord Elgin, pilfered or otherwise from classical sites, made their way into the country houses and museums of Europe. Byron, although critical of his contemporaries, was in many ways one of them, the difference being that he made a point of appreciating the here and now, the reality of the Oriental present as opposed to the classical past, and embracing the people who lived there even if they were regarded as debased specimens by his fellow travellers.

I say, too, that when a painter desires to become famous in his art he endeavours to copy the originals of the rarest painters that he knows; and the same rule holds good for all the most important crafts and callings that serve to adorn a state; thus must he who would be esteemed prudent and patient imitate Ulysses, in whose person and labours Homer presents to us a lively picture of prudence and patience; as Virgil, too, shows us in the person of AEneas the virtue of a pious son and the sagacity of a brave and skilful captain; not representing or describing them as they were, but as they ought to be, so as to leave the example of their virtues to posterity.

Ancient Ways The Greek Isles are divided into several major chains lying in the Aegean, the Mediterranean, and the Ionian seas. The Cyclades chain alone includes more than two hundred islands clustered in the southern Aegean. In the southeastern Aegean, between Crete and Asia Minor, there are 163 islands known as the Dodecanese chain. Only 26 of these are inhabited; the largest of them is Rhodes, where the world-famous Colossus once stood. The Ionian chain of western Greece (named for the eponymous sea) includes the large island of Corfu. Cyprus lies in the eastern Mediterranean, south of Turkey. Today, Cyprus stands politically divided, with Turkish rule in the north, and a government in the south that remains independent from Greece. However, the island has always been linked culturally and linguistically to Greece, and it shares traditions and ways of life with the smaller islands scattered to its south and west. In the Greek Isles, history blends myth and fact. Historians glean information about the early days of the Greek Isles from the countless ancient stories and legends set there. According to Homer, battleships sailed from the harbors of Kos and Rhodes during the Trojan War. A well-known legend holds that the Argonauts sought refuge from a storm on the island of Anafi in the southeastern Cyclades. The lovely island of Lésvos is mentioned throughout the Homeric epics and in many ancient Greek tales. Tradition has it that the god Helios witnessed the island of Rhodes rising mystically from the sea, and chose it for his home. The ill-fated Daedalus and his son, Icarus, attempted to soar through the skies over the magical island of Crete, where the great god Zeus was born in a mountaintop cave. Villagers still recount how Aphrodite emerged from the sea on a breathtaking stretch of beach near the village of Paphos on Cyprus. Visitors must actually lay eyes on a Greek island to gain a full appreciation for these ancient stories. Just setting foot on one of these islands makes you feel as if you’ve stepped into one of the timeless tales from ancient Greek mythology.