Without oblivion, there is no remembrance possible. When both oblivion and memory are wise, when the general soul of man is clear, melodious, true, there may come a modern Iliad as memorial of the Past.
Troy is based on the epic poem The Iliad by Homer , according to the credits. Homer's estate should sue.
Gregorian chant, Romanesque architecture, the Iliad , the invention of geometry were not, for the people through whom they were brought into being and made available to us, occasions for the manifestation of personality.
Be that blind bard who on the Chian strand, By those deep sounds possessed with inward light, Beheld the Iliad and the Odyssey Rise to the swelling of the voiceful sea.
My business is to succeed, and I’m good at it. I create my Iliad by my actions, create it day by day.
Pretension may sit still, but cannot act. Pretension never feigned an act of real greatness. Pretension never wrote an Iliad, nordrove back Xerxes, nor christianized the world, nor abolished slavery.
Make room, Roman writers, make room for Greek writers; something greater than the Iliad is born.
The Iliad represents no creed nor opinion, and we read it with a rare sense of freedom and irresponsibility, as if we trod on native ground, and were autochthones of the soil.
For all the import and message of 'The Iliad,' it's ultimately a story that's meant to be heard, and the person hearing 'The Iliad' determines what it means.
I have always known that writing fiction had little effect on the world; that if it did, young men would not have gone to war after The Iliad.
Socrates, in Plato, formulates ideas of order: the Iliad, like Shakespeare, knows that a violent disorder is a great order.
I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times.
There is but one art, to omit! Oh, if I knew how to omit I would ask no other knowledge. A man who knows how to omit would make an Iliad of a daily paper.
I suppose it’s true that most great television, literature, and other forms of high art (and basic cable) benefit from a little hindsight. “M.A.S.H.” comes to mind. So does The Iliad.
Every great literature has always been allegorical - allegorical of some view of the whole universe. The 'Iliad' is only great because all life is a battle, the 'Odyssey' because all life is a journey, the Book of Job because all life is a riddle.
I would suppose I learned how to write when I was very young indeed. When I read a child's book about the Trojan War and decided that the Greeks were really a bunch of frauds with their tricky horses and the terrible things they did, stealing one another's wives, and so on, so at that very early age, I re-wrote the ending of the Iliad so that the Trojans won. And boy, Achilles and Ajax got what they wanted, believe me. And thereafter, at frequent intervals, I would write something. It was really quite extraordinary. Never of very high merit, but the daringness of it was.
In the power and splendor of the universe, inspiration waits for the millions to come. Man has only to strive for it. Poems greater than the Iliad, plays greater than Macbeth, stories more engaging than Don Quixote await their seeker and finder.
Creative writing teachers should be purged until every last instructor who has uttered the words 'Write what you know' is confined to a labor camp. Please, talented scribblers, write what you don't. The blind guy with the funny little harp who composed The Iliad, how much combat do you think he saw?
I have a confession to make. The love affair of my life has been with the Greek language. I have now reached the age when it has occurred to me that I may have read some books for the last time. I suddenly thought that there are books I cannot bear not to read again before I die. One that stands out a mile is Homer's Iliad.
I was more worn out with the "Odyssey" than it was with the "Iliad." I mean, just comparing those two - you can see how it's changing, how the language of the "Iliad" is somehow monstrously new - and that language of the "Odyssey" is more comfortable, even for us.
Go over to Greece with the Iliad and Odyssey. These have elements of history, and they have non-historical elements. It's very difficult to pull them apart. And I think there's not much reason to.
Look at The Iliad, there's all this stuff about men loving children. The King of Sparta was the most brutal warrior of ancient Greece, and the only thing he liked to do was horse around with kids when he was back from slaughtering. One thing that feminism revealed is that being a distant patriarchal figure was not something men wanted to be. They want to be more involved in the lives of their children, and you can see that once they're allowed to have that connection, they crave it.
My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.
In Homer and Chaucer there is more of the innocence and serenity of youth than in the more modern and moral poets. The Iliad is not Sabbath but morning reading, and men cling to this old song, because they still have moments of unbaptized and uncommitted life, which give them an appetite for more.
It doesn't seem to me that anyone has discovered much that's new since the Iliad or the Odyssey.
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