A Quote by Anne Carson
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.
Related Quotes
It doesn't seem to me that anyone has discovered much that's new since the Iliad or the Odyssey.
One can easily classify all works of fiction either as descendants of the Iliad or of the Odyssey.
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.
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.
The Odyssey is, indeed, one of the greatest of all stories, it is the original romance of the West; but the Iliad, though a magnificent poem, is not much of a story.
The ancient world is always accessible, no matter what culture you come from. I remember when I was growing up in India and I read the 'Iliad' and the 'Odyssey.'
'The Odyssey' is the great tale, and I was really taken by 'The Iliad,' so I dig into those things, and when I was a kid I didn't. You've gotta have a certain level of understanding yourself before that stuff really starts to resonate.
No ancient story, not even Homer's Iliad or Odyssey, has remained as popular through the course of time. The story of Rama appears as old as civilization and has a fresh appeal for every generation.
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.
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.
Epic stories, especially 'quest narratives' like 'The Iliad' and 'The Odyssey,' are brilliant structures for storytelling. The quest lends itself to episodic storytelling.
My wife, Lisa, and I both grew up on wuxia - Chinese historical romances. They're kind of analogous to Western epics. They're based on history, just like 'the Iliad' and 'the Odyssey' are based on history, but they're romanticized, and a lot of fantasy elements have been added.
When I was nine, I started reading Homer. I would get up at four o'clock in the morning, before I had to go to school, in third or fourth grade, and, for several hours, I would read 'The Iliad' or 'The Odyssey.'
Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.
What if The Odyssey has no more validity or authenticity than one of the other stories that you hear Odysseus telling? Whoever created The Odyssey was incredibly hip to stuff that we think, in our post-modernist, post-structuralist era, we're uncovering for the first time; but we aren't.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
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