Best 43 quotes in «iliad quotes» category

If you truly hope to win her over, be as honest with yourself as with her.

In this night too, in this night of his mortal eyes into which he was now descending, love and danger were again waiting... a murmur of glory and hexameters, of men defending a temple the gods will not save, and of black vessels searching the sea for a beloved isle; the murmor of the Odysseys and Iliads it was his destiny to sing and leave echoing concavely in the memory of man. These things we know, but not those he felt descending into the last shade of all.

Precious are the last moments when you do not know they are the last.

Love is a poison,' her father responded. 'One you grow accustomed to, but does not kill you.

so evenly was strained their war and battle, till the moment when Zeus gave the greater renown to Hector, son of Priam, who was the first to leap within the wall of the Achaians. In a piercing voice he cried aloud to the Trojans: "Rise, ye horse-taming Trojans, break the wall of the Argives, and cast among the ships fierce blazing fire." So spake he, spurring them on, and they all heard him with their ears, and in one mass rushed straight against the wall, and with sharp spears in their hands climbed upon the machicolations of the towers. And Hector seized and carried a stone that lay in front of the gates, thick in the hinder part, but sharp at point: a stone that not the two best men of the people, such as mortals now are, could lightly lift from the ground on to a wain, but easily he wielded it alone, for the son of crooked-counselling Kronos made it light for him. And as when a shepherd lightly beareth the fleece of a ram, taking it in one hand, and little doth it burden him, so Hector lifted the stone, and bare it straight against the doors that closely guarded the stubborn-set portals, double gates and tall, and two cross bars held them within, and one bolt fastened them. And he came, and stood hard by, and firmly planted himself, and smote them in the midst, setting his legs well apart, that his cast might lack no strength. And he brake both the hinges, and the stone fell within by reason of its weight, and the gates rang loud around, and the bars held not, and the doors burst this way and that beneath the rush of the stone. Then glorious Hector leaped in, with face like the sudden night, shining in wondrous mail that was clad about his body, and with two spears in his hands. No man that met him could have held him back when once he leaped within the gates: none but the gods, and his eyes shone with fire. Turning towards the throng he cried to the Trojans to overleap the wall, and they obeyed his summons, and speedily some overleaped the wall, and some poured into the fair-wrought gateways, and the Danaans fled in fear among the hollow ships, and a ceaseless clamour arose.

She didn't know how she would survive when every breath stung, every tear burned, and every step took her further from the only man she'd ever loved.

Understand, I did not conquer my wife. I won her over. There is a difference.

Thetis knew this woman had conquered the unconquerable, without knowing she had done so.

She must be strong enough to hold the memory of her husband, to sing his song in her heart until she joined him in the Underworld.

Um médico, só por si, vale alguns homens.

We all make war, but not all can bring forth life.

You must speak to her heart, then. But first, you must open yours, then hers will follow.

You are the fire that burns within my heart. There is room for no other. When I die, it will be your Name upon my lips.

If you are very valiant, it is a god, I think, who gave you this gift.

You stupid food!" -Athene to Ares

A very great Iliad... concerns the creation of a nation.

Better to live or die, once and for all, than die by inches.

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.

It was built against the will of the immortal gods, and so it did not last for long.

It doesn't seem to me that anyone has discovered much that's new since the Iliad or the Odyssey.

Do all in Troy despise me?' 'That is a strong word, my sweet.' The young Queen of Sparta pulled away from her lover's arms. 'It is true then. I have exchanged one prison for another.' Paris gently brushed her cheek with his hand. 'If that is true, we are the most fortunate of prisoners. For we have each other and our love.

Lastly, this threefold poetry flows from three great sources - The Bible, Homer, Shakespeare.... The Bible before the Iliad, the Iliad before Shakespeare.

No one is moral among the god-controlled puppets of the _Iliad_. Good and evil do not exist.

Over the wine-dark sea.

Socrates, in Plato, formulates ideas of order: the Iliad, like Shakespeare, knows that a violent disorder is a great order.

The earliest full-length account of a chariot race appears in Book xxiii of the Iliad.

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.

The Odyssey and Iliad say things about the human condition in ways we should re-acquaint ourselves with, and use as a prism to interpret though.

One can easily classify all works of fiction either as descendants of the Iliad or of the Odyssey.

Troy is based on the epic poem The Iliad by Homer , according to the credits. Homer's estate should sue.

Briseis blinked, shaking her head in disbelief. 'You have taken everything from me. My husband. My brothers. My father. You have given me no word of my mother. There is nowhere else for me to go.' 'I expect too much,' he stated. 'Their faces fade from my memory,' Briseis said, quietly. 'Without them, I have nothing.

Fate is the same for the man who holds back, the same if he fights hard. We are all held in a single honour, the brave with the weaklings. A man dies still if he has done nothing, as one who has done much.

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.

Fate always found its mark, one way or another.

Choose,' she says, reaching out towards him. 'Choose to which of us the apple most belongs...

Hektor, argue me no agreements. I cannot forgive you. As there are no trustworthy oaths between men and lions, nor wolves and lambs have spirit that can be brought to agreement but forever these hold feelings of hate for each other, so there can be no love between you and me, nor shall there be oaths between us, but one or the other must fall before then to glut with his blood Ares the god who fights under the shield's guard.

Helen looked up at Paris, her face wet with tears and blotchy with grief, and nodded her consent. 'Together we are chained on rocks before the beast of Poseidon. Naked and bare and helpless.' 'But we are more fortunate.' 'How so?' Helen asked. 'We have each other as comfort in our misery.

He must lay siege against Briseis' walls and conquer her. Love would be his sword and he would break all her chains.

Homer, in the second book of the Iliad says with fine enthusiasm, "Give me masturbation or give me death." Caesar, in his Commentaries, says, "To the lonely it is company; to the forsaken it is a friend; to the aged and to the impotent it is a benefactor. They that are penniless are yet rich, in that they still have this majestic diversion." In another place this experienced observer has said, "There are times when I prefer it to sodomy." Robinson Crusoe says, "I cannot describe what I owe to this gentle art." Queen Elizabeth said, "It is the bulwark of virginity." Cetewayo, the Zulu hero, remarked, "A jerk in the hand is worth two in the bush." The immortal Franklin has said, "Masturbation is the best policy." Michelangelo and all of the other old masters--"old masters," I will remark, is an abbreviation, a contraction--have used similar language. Michelangelo said to Pope Julius II, "Self-negation is noble, self-culture beneficent, self-possession is manly, but to the truly great and inspiring soul they are poor and tame compared with self-abuse." Mr. Brown, here, in one of his latest and most graceful poems, refers to it in an eloquent line which is destined to live to the end of time--"None knows it but to love it; none name it but to praise.

Honour to Agamemnon is a thing / That he can pick, pick up, put back, pick up again, / A somesuch you might find beneath your bed.

I could not burn your mortality from your body, so live before your days are gone and regret fills your heart.

Hektor was the wall around her world that kept life's perils at bay.

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.