Blind poets

"If the pages of this book contain some successful verse, the reader must excuse me the discourtesy of having usurped it first. Our nothingness differs little; it is a trivial and chance circumstance that you should be the reader of these exercises and I their author."

"Some days past I have found a curious confirmation of the fact that what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arabian book par excellence, in the Koran, there are no camels; I believe if there were any doubt as to the authenticity of the Koran, this absence of camels would be sufficient to prove it is an Arabian work. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were especially Arabian; for him they were part of reality, he had no reason to emphasize them; on the other hand, the first thing a falsifier, a tourist, an Arab nationalist would do is have a surfeit of camels, caravans of camels, on every page; but Mohammed, as an Arab, was unconcerned: he knew he could be an Arab without camels. I think we Argentines can emulate Mohammed, can believe in the possibility of being Argentine without abounding in local color."

"Wilde was not a great poet nor a consummate prose writer. He was a very astute Irishman who encompassed in epigrams an esthetic credo which others before him scattered in the space of long pages. He was an enfant terrible."

"That one individual should awaken in another memories that belong to still a third is an obvious paradox."

"It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing."

"Reading … is an activity subsequent to writing: more resigned, more civil, more intellectual."

"The vast ineptitude of his pretense would be a convincing proof that this was no fraud."

"Mir Bahadur Ali is, as we have seen, incapable of evading the most vulgar of art's temptations: that of being a genius."

"Your unforgivable sins do not allow you to see my splendor."

"The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it."

"Everything would be in its blind volumes. Everything: the detailed history of the future, Aeschylus' The Egyptians, the exact number of times that the waters of the Ganges have reflected the flight of a falcon, the secret and true nature of Rome, the encyclopedia Novalis would have constructed, my dreams and half-dreams at dawn on August 14, 1934, the proof of Pierre Fermat's theorem, the unwritten chapters of Edwin Drood, those same chapters translated into the language spoken by the Garamantes, the paradoxes Berkeley invented concerning Time but didn't publish, Urizen's books of iron, the premature epiphanies of Stephen Dedalus, which would be meaningless before a cycle of a thousand years, the Gnostic Gospel of Basilides, the song the sirens sang, the complete catalog of the Library, the proof of the inaccuracy of that catalog. Everything: but for every sensible line or accurate fact there would be millions of meaningless cacophonies, verbal farragoes, and babblings. Everything: but all the generations of mankind could pass before the dizzying shelves—shelves that obliterate the day and on which chaos lies—ever reward them with a tolerable page."

"The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries, with vast air shafts between, surrounded by very low railings."

"From these two incontrovertible premises he deduced that the Library is total and that its shelves register all the possible combinations of the twenty-odd orthographical symbols (a number which, though extremely vast, is not infinite). Everything: the minutely detailed history of the future, the archangels' autobiographies, the faithful catalogues of the Library, thousands and thousands of false catalogues, the demonstration of the fallacy of those catalogues, the demonstration of the fallacy of the true catalogue, the Gnostic gospel of Basilides, the commentary on that gospel, the commentary on the commentary on that gospel, the true story of your death, the translation of every book in all languages, the interpolations of every book in all books."

"There is no combination of characters one can make — dhcmrlchtdj, for example — that the divine Library has not foreseen and that in one or more of its secret tongues does not hide a terrible significance. There is no syllable one can speak that is not filled with tenderness and terror, that is not, in one of those languages, the mighty name of a god."

"I know of one semibarbarous zone whose librarians repudiate the "vain and superstitious habit" of trying to find sense in books, equating such a quest with attempting to find meaning in dreams or in the chaotic lines on the palms of one's hand."

"Que el cielo exista, aunque mi lugar sea el infierno."

"El original es infiel a la traducción."

"I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out post cards. . . I saw the oblique shadow of some ferns on the floor of a hot-house; I saw tigers, emboli, bison, ground swells and armies; I saw all the ants in the world."

"Dictatorships foster oppression, dictatorships foster servitude, dictatorships foster cruelty; more abominable is the fact that they foster idiocy."

"In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.<!--"

"There is nothing very remarkable about being immortal; with the exception of mankind, all creatures are immortal, for they know nothing of death. What is divine, terrible, and incomprehensible is to know oneself immortal."

"There are no moral or intellectual merits. Homer composed the Odyssey; if we postulate an infinite period of time, with infinite circumstances and changes, the impossible thing is not to compose the Odyssey, at least once."

"No one is anyone, one single immortal man is all men. Like Cornelius Agrippa, I am god, I am hero, I am philosopher, I am demon and I am world, which is a tedious way of saying that I do not exist."

"Any life, however long and complicated it may be, actually consists of a single moment — the moment when a man knows forever more who he is."

"Besides, time, which despoils castles, enriches verses . . . Time broadens the scope of verses and I know of some which, like music, are everything for all men."

"There's no need to build a labyrinth when the entire universe is one."

"The minotaur more than justifies the existence of the labyrinth."

"His many years had reduced and polished him the way water smooths and polishes a stone or generations of men polish a proverb."

"I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. [...] The baroque is the final stage in all art, when art flaunts and squanders its resources."

"It is universally held that the unicorn is a supernatural being and of auspicious omen; so say the odes, the annals, the biographies of worthies, and other texts whose authority is unimpeachable. Even village women and children know that the unicorn is a lucky sign. But this animal does not figure among the barnyard animals, it is not always easy to come across, it does not lend itself to zoological classification. Nor is it like the horse or bull, the wolf or deer. In such circumstances we may be face to face with a unicorn and not know for sure that we are. We know that a certain animal with a mane is a horse and that a certain animal with horns is a bull. We do not know what the unicorn looks like."

"To die for a religion is easier than to live it absolutely."

"Villari took no notice of them because the idea of a coincidence between art and reality was alien to him. Unlike people who read novels, he never saw himself as a character in a work of art."

"Years of solitude had taught him that, in one's memory, all days tend to be the same, but that there is not a day, not even in jail or in the hospital, which does not bring surprises, which is not a translucent network of minimal surprises."

"Every novel is an ideal plane inserted into the realm of reality."

"The heresies we should fear are those which can be confused with orthodoxy."

"Like all those possessing a library, Aurelian was aware that he was guilty of not knowing his in its entirety."

"Do you want to see what human eyes have never seen? Look at the moon. Do you want to hear what ears have never heard? Listen to the bird's cry. Do you want to touch what hands have never touched? Touch the earth. Verily I say that God is about to create the world."

"Arrasado el jardín, profanados los cálices y las aras, entraron a caballo los hunos en la biblioteca monástica y rompieron los libros incomprensibles y los vituperaron y los quemaron, acaso temerosos de que las letras encubrieran blasfemias contra su dios, que era una cimitarra de hierro."

"Writing is nothing more than a guided dream."

"He sospechado alguna vez que la única cosa sin misterio es la felicidad, porque se justifica por sí sola."

"My advanced age has taught me the resignation of being Borges."

"Time can't be measured in days the way money is measured in pesos and centavos, because all pesos are equal, while every day, perhaps every hour, is different."

"The poverty of yesterday was less squalid than the poverty we purchase with our industry today. Fortunes were smaller then as well."

"We all think that fate has dealt us a wretched sort of lot in life, and that others must be better. [...] I presume that in the heaven of the Blessèd there are those who believe that the advantages of that locale are much exaggerated by theologists, who have never been there themselves."

"When one confesses to an act, one ceases to be an actor in it and becomes its witness, becomes a man that observes and narrates it and no longer the man that performed it."

"Being with you and not being with you is the only way I have to measure time."

"El hecho ocurrió en el mes de febrero de 1969, al norte de Boston, en Cambridge. No lo escribí inmediatamente porque mi primer propósito fue olvidarlo, para no perder la razón."

"I do believe that my country is now joyfully emerging from the swamp. I believe that we deserve to leave the swamp we have been in. And we are leaving it thanks to the work of the Sword. Here, you have already emerged from the swamp. And so Chile, this region, this country, is both a long country and an honorable Sword."

"Ser conservador es una forma de ser escéptico."

"Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song."

"Films are even stranger, for what we are seeing are not disguised people but photographs of disguised people, and yet we believe them while the film is being shown."

"The fact is that poetry is not the books in the library . . . Poetry is the encounter of the reader with the book, the discovery of the book."

"The aesthetic event is something as evident, as immediate, as indefinable as love, the taste of fruit, of water. We feel poetry as we feel the closeness of a woman, or as we feel a mountain or a bay. If we feel it immediately, why dilute it with other words, which no doubt will be weaker than our feelings?"

"There are people who barely feel poetry, and they are generally dedicated to teaching it."

"La duda es uno de los nombres de la inteligencia."

"As I think of the many myths, there is one that is very harmful, and that is the myth of countries. I mean, why should I think of myself as being an Argentine, and not a Chilean, and not an Uruguayan. I don't know really. All of those myths that we impose on ourselves — and they make for hatred, for war, for enmity — are very harmful. Well, I suppose in the long run, governments and countries will die out and we'll be just, well, cosmopolitans."

"No estoy seguro de que yo exista, en realidad. Soy todos los autores que he leído, toda la gente que he conocido, todas las mujeres que he amado. Todas las ciudades que he visitado, todos mis antepasados..."

"He cometido el peor pecado que uno puede cometer. No he sido feliz."

"The man who acquires an encyclopedia does not thereby acquire every line, every paragraph, every page, and every illustration; he acquires the possibility of becoming familiar with one and another of those things."

"The Falklands thing was a fight between two bald men over a comb."

"A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art."

"Life itself is a quotation."

"¿De qué otra forma se puede amenazar que no sea de muerte? Lo interesante, lo original, sería que alguien lo amenace a uno con la inmortalidad."

"Time carries him as the river carries A leaf in the downstream water. No matter. The enchanted one insists And shapes God with delicate geometry. Since his illness, since his birth, He goes on constructing God with the word. The mightiest love was granted him Love that does not expect to be loved."

"Reality is not always probable, or likely. But if you're writing a story, you have to make it as plausible as you can, because if not, the reader's imagination will reject it."

"En mi juventud probé la mescalina y la cocaína pero enseguida me pasé a los pastillas de menta que me parecieron más estimulantes. Si las drogas producen el mismo efecto que el alcohol, no me interesan. Un borracho es evidentemente ridículo. He estado borracho algunas veces y lo recuerdo como una experiencia muy desagradable para los demás y para mí."

"I will pause to consider this eternity from which the subsequent ones derive."

"I turn to the most promising example: the bird. The habit of flocking; smallness; similarity of traits; their ancient connection with the two twilights, the beginnings of days, and the endings; the fact of being more often heard than seen — all of this moves us to acknowledge the primacy of the species and the almost perfect nullity of individuals. Keats, entirely a stranger to error, could believe that the nightingale enchanting him was the same one Ruth heard amid the alien corn of Bethlehem in Judah; Stevenson posits a single bird that consumes the centuries: "the nightingale that devours time." Schopenhauer — impassioned, lucid Schopenhauer — provides a reason: the pure corporeal immediacy in which animals live, oblivious to death and memory. He then adds, not without a smile: Whoever hears me assert that the grey cat playing just now in the yard is the same one that did jumps and tricks there five hundred years ago will think whatever he likes of me, but it is a stranger form of madness to imagine that the present-day cat is fundamentally an entirely different one."

"El infierno y el paraíso me parecen desproporcionados. Los actos de los hombres no merecen tanto."

"Censorship is the mother of metaphor."

"Life and death have been lacking in my life."

"Imprecision is tolerable and verisimilar in literature, because we always tend towards it in life."

"The exercise of letters is sometimes linked to the ambition to construct an absolute book, a book of books that includes the others like a Platonic archetype, an object whose virtues are not diminished by the passage of time."

"Art always opts for the individual, the concrete; art is not Platonic."

"It is known that Whistler when asked how long it took him to paint one of his "nocturnes" answered: "All of my life." With the same rigor he could have said that all of the centuries that preceded the moment when he painted were necessary. From that correct application of the law of causality it follows that the slightest event presupposes the inconceivable universe and, conversely, that the universe needs even the slightest of events."

"We (the indivisible divinity that works in us) have dreamed the world. We have dreamed it resistant, mysterious, visible, ubiquitous in space and firm in time, but we have allowed slight, and eternal, bits of the irrational to form part of its architecture so as to know that it is false."

"Hay un concepto que es el corruptor y el desatinador de los otros. No hablo del mal cuyo limitado imperio es la ética; hablo del infinito."

"He transforms all concepts into incommunicable, solidified objects. To refute him is to become contaminated with unreality."

"It is venturesome to think that a coordination of words (philosophies are nothing more than that) can resemble the universe very much. It is also venturesome to think that of all these illustrious coordinations, one of them — at least in an infinitesimal way — does not resemble the universe a bit more than the others."

"The central problem of novel-writing is causality."

"The possibilities of the art of combination are not infinite, but they tend to be frightful. The Greeks engendered the chimera, a monster with heads of the lion, the dragon and the goat; the theologians of the second century, the Trinity, in which the Father, the Son and the Holy Ghost are inextricably tied; the Chinese zoologists, the ti-yiang, a vermilion supernatural bird, endowed with six feet and four wings, but without a face or eyes; the geometers of the nineteenth century, the hypercube, a figure with four dimensions, which encloses an infinite number of cubes and has as its faces eight cubes and twenty-four squares. Hollywood has just enriched this vain museum of horrors: by means of an artistic malignity called dubbing, it proposes monsters that combine the illustrious features of Greta Garbo with the voice of Aldonza Lorenzo."

"I owe the discovery of Uqbar to the conjunction of a mirror and an encyclopedia."

"One of the heresiarchs of Uqbar had stated that mirrors and copulation are abominable, since they both multiply the numbers of man."

"Para uno de esos gnosticos, el visible universo era una ilusion o (mas precisamente) un sofisma. Los espejos y la paternidad son abominables porque lo multiplican y lo divulgan."

"In life, he suffered from a sense of unreality, as do many Englishmen."

"Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor — an infinite Leibniz laboring away darkly and modestly — has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers... directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan. This plan is so vast that each writer's contribution is infinitesimal. At first it was believed that Tlön was a mere chaos, and irresponsible license of the imagination; now it is known that it is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally. Let it suffice for me to recall that the apparent contradictions of the Eleventh Volume are the fundamental basis for the proof that the other volumes exist, so lucid and exact is the order observed in it."

"Hume noted for all time that Berkeley's arguments did not admit the slightest refutation nor did they cause the slightest conviction. This dictum is entirely correct in its application to the earth, but entirely false in Tlön. The nations of this planet are congenitally idealist. Their language and the derivations of their language — religion, letters, metaphysics — all presuppose idealism. The world for them is not a concourse of objects in space; it is a heterogeneous series of independent acts. It is successive and temporal, not spatial."

"One thinker no less brilliant than the heresiarch himself, but in the orthodox tradition, advanced a most daring hypothesis. This felicitous supposition declared that there is only one Individual, and that this indivisible Individual is every one of the separate beings in the universe, and that these beings are the instruments and masks of divinity itself."

"The geometry of Tlön comprises two somewhat different disciplines: the visual and the tactile. The latter corresponds to our own geometry and is subordinated to the first."

"It is no exaggeration to state that the classic culture of Tlön comprises only one discipline: psychology. All others are subordinated to it. I have said that the men of this planet conceive the universe as a series of mental processes which do not develop in space but successively in time."

"The metaphysicians of Tlön do not seek for the truth or even for verisimilitude, but rather for the astounding. They judge that metaphysics is a branch of fantastic literature. They know that a system is nothing more than the subordination of all aspects of the universe to any one such aspect. Even the phrase "all aspects" is rejectable, for it supposes the impossible addition of the present and of all past moments."

"One of the schools of Tlön goes so far as to negate time; it reasons that the present is indefinite, that the future has no reality other than as a present hope, that the past has no reality other than as a present memory. Another school declares that all time has already transpired and that our life is only the crepuscular and no doubt falsified an mutilated memory or reflection of an irrecoverable process. Another, that the history of the universe — and in it our lives and the most tenuous detail of our lives — is the scripture produced by a subordinate god in order to communicate with a demon. Another, that the universe is comparable to those cryptographs in which not all the symbols are valid and that only what happens every three hundred nights is true. Another, that while we sleep here, we are awake elsewhere and that in this way every man is two men."

"Nowadays, one of the churches of Tlön maintains platonically that such and such a pain, such and such a greenish-yellow colour, such and such a temperature, such and such a sound, etc., make up the only reality there is. All men, in the climactic instant of coitus, are the same man. All men who repeat one line of Shakespeare are William Shakespeare."

"Writing long books is a laborious and impoverishing act of foolishness: expanding in five hundred pages an idea that could be perfectly explained in a few minutes. A better procedure is to pretend that those books already exist and to offer a summary, a commentary."

"I have known that thing the Greeks knew not – uncertainty."

"It seemed incredible to me that day without premonitions or symbols should be the one of my inexorable death."

"I reflected that everything happens to a man precisely, precisely now. Centuries of centuries and only in the present do things happen; countless men in the air, on the face of the earth and the sea, and all that really is happening is happening to me . . ."

"I foresee that man will resign himself each day to more atrocious undertakings; soon there will be no one but warriors and brigands; I give them this counsel: The author of an atrocious undertaking ought to imagine that he has already accomplished it, ought to impose upon himself a future as irrevocable as the past."

"I thought of a labyrinth of labyrinths, of one sinuous spreading labyrinth that would encompass the past and the future and in some way involve the stars."

"I thought that a man can be an enemy of other men, of the moments of other men, but not of a country: not of fireflies, words, gardens, streams of water, sunsets."

"A labyrinth of symbols... An invisible labyrinth of time."

"Ts'ui Pe must have said once: I am withdrawing to write a book. And another time: I am withdrawing to construct a labyrinth. Every one imagined two works; to no one did it occur that the book and the maze were one and the same thing."

"I leave to the various futures (not to all) my garden of forking paths."

"In the work of Ts'ui Pên, all possible outcomes occur; each one is the point of departure for other forkings. Sometimes, the paths of this labyrinth converge: for example, you arrive at this house, but in one of the possible pasts you are my enemy, in another, my friend."

"Thus fought the heroes, tranquil their admirable hearts, violent their swords, resigned to kill and to die."

"In a riddle whose answer is chess, what is the only prohibited word?"

"The Garden of Forking Paths is an incomplete, but not false, image of the universe as Ts'ui Pên conceived it. In contrast to Newton and Schopenhauer, your ancestor did not believe in a uniform, absolute time. He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time. We do not exist in the majority of these times; in some you exist, and not I; in others I, and not you; in others, both of us."

"Time forks perpetually toward innumerable futures. In one of them I am your enemy."

"My undertaking is not difficult, essentially... I should only have to be immortal to carry it out."

"There is no exercise of the intellect which is not, in the final analysis, useless. A philosophical doctrine begins as a plausible description of the universe; with the passage of the years it becomes a mere chapter — if not a paragraph or a name — in the history of philosophy."

"Fame is a form—perhaps the worst form—of incomprehension."

"Thinking, meditating, imagining are not anomalous acts – they are the normal respiration of the intelligence. To glorify the occasional exercise of that function, to treasure beyond price ancient and foreign thoughts, to recall with incredulous awe what some doctor universalis thought, is to confess our own languor, or our own barbarie. Every man should be capable of all ideas, and I believe that in the future he shall be."

"The truth is that we live out our lives putting off all that can be put off; perhaps we all know deep down that we are immortal and that, sooner or later, all men will do and know all things."

"That history should have imitated history was already sufficiently marvellous; that history should imitate literature is inconceivable...."

"What one man does is something done, in some measure, by all men. For that reason a disobedience committed in a garden contaminates the human race; for that reason it is not unjust that the crucifixion of a single Jew suffices to save it."

"It's possible, but not interesting," Lonnrot answered. "You will reply that reality hasn't the slightest need to be of interest. And I'll answer you that reality may avoid the obligation to be interesting, but that hypotheses may not. In the hypothesis you have postulated, chance intervenes largely. Here lies a dead rabbi; I should prefer a purely rabbinical explanation; not the imaginary mischances of an imaginary robber."

""Maybe this crime belongs to the history of Jewish superstitions," murmmured Lönnrot. "Like Christianity," the editor put in."

"The execution was set for the 29th of March, at nine in the morning. This delay was due to a desire on the part of the authorities to act slowly and impersonally, in the manner of planets or vegetables."

"Like every writer, he measured the virtues of other writers by their performance, and asked that they measure him by what he conjectured or planned."

"The time for your labor has been granted."

"Toward dawn, he dreamed that he was in hiding, in one of the naves of the Clementine Library. What are you looking for? a librarian wearing dark glasses asked him. I'm looking for God, Hladik replied. God, the librarian said, is in one of the letters on one of the pages of one of the four hundred thousand volumes in the Clementine. My parents and my parents' parents searched for that letter; I myself have gone blind searching for it."

"In adultery, there is usually tenderness and self-sacrifice; in murder, courage; in profanation and blasphemy, a certain satanic splendour. Judas elected those offences unvisited by any virtues: abuse of confidence and informing."

"On the floor, and hanging on to the bar, squatted an old man, immobile as an object. His years had reduced and polished him as water does a stone or the generations of men do a sentence. He was dark, dried up, diminutive, and seemed outside time, situated in eternity."

"If Dahlmann was without hope, he was also without fear. As he crossed the threshold, he felt that to die in a knife fight, under the open sky, and going forward to the attack, would have been a liberation, a joy, and a festive occasion, on the first night in the sanitarium, when they stuck him with the needle. He felt that if he had been able to choose, then, or to dream his death, this would have been the death he would have chosen or dreamt. Firmly clutching his knife, which he perhaps would not know how to wield, Dahlmann went out into the plain."

"And yet, and yet … Negar la sucesión temporal, negar el yo, negar el universo astronómico, son desesperaciones aparentes y consuelos secretos. Nuestro destino no es espantoso por irreal: es espantoso porque es irreversible y de hierro. El tiempo es la sustancia de que estoy hecho. El tiempo es un río que me arrebata, pero yo soy el río; es un tigre que me destroza, pero yo soy el tigre; es un fuego que me consume, pero yo soy el fuego. El mundo desgraciadamente es real; yo, desgraciadamente, soy Borges."

"I cannot walk through the suburbs in the solitude of the night without thinking that the night pleases us because it suppresses idle details, just as our memory does."

"Music, states of happiness, mythology, faces belabored by time, certain twilights and certain places try to tell us something, or have said something we should not have missed, or are about to say something; this imminence of a revelation which does not occur is, perhaps, the aesthetic phenomenon."

"Universal history is the history of a few metaphors."

"In the course of a life devoted less to living than to reading, I have verified many times that literary intentions and theories are nothing more than stimuli and that the final work usually ignores or even contradicts them."

""Wakefield" prefigures Franz Kafka, but the latter modifies, and sharpens, the reading of "Wakefield." The debt is mutual; a great writer creates his or her precursors. He or she creates them and in some fashion justifies them."

"In the critic's vocabulary, the word "precursor" is indispensable, but it should be cleansed of all connotations of polemic or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future."

"A book is more than a verbal structure or series of verbal structures; it is the dialogue it establishes with its reader and the intonation it imposes upon his voice and the changing and durable images it leaves in his memory. A book is not an isolated being: it is a relationship, an axis of innumerable relationships."

"Literature is not exhaustible, for the sufficient and simple reason that a single book is not. A book is not an isolated entity: it is a narration, an axis of innumerable narrations. One literature differs from another, either before or after it, not so much because of the text as for the manner in which it is read."

"The future is inevitable and precise, but it may not occur. God lurks in the gaps."

"To fall in love is to create a religion that has a fallible god."

"In the order of literature, as in others, there is no act that is not the coronation of an infinite series of causes and the source of an infinite series of effects."

"Coleridge observes that all men are born Aristotelians or Platonists. The latter feel that classes, orders, and genres are realities; the former, that they are generalizations. For the latter, language is nothing but an approximative set of symbols; for the former, it is the map of the universe. The Platonist knows that the universe is somehow a cosmos, an order; that order, for the Aristotelian, can be an error or a fiction of our partial knowledge. Across the latitudes and the epochs, the two immortal antagonists change their name and language: one is Parmenides, Plato, Spinoza, Kant, Francis Bradley; the other, Heraclitus, Aristotle, Locke, Hume, William James."

"These ambiguities, redundances, and deficiences recall those attributed by Dr. Franz Kuhn to a certain Chinese encyclopedia entitled Celestial Emporium of Benevolent Knowledge. On those remote pages it is written that animals are divided into (a) those that belong to the Emperor, (b) embalmed ones, (c) those that are trained, (d) suckling pigs, (e) mermaids, (f) fabulous ones, (g) stray dogs, (h) those that are included in this classification, (i) those that tremble as if they were mad, (j) innumerable ones, (k) those drawn with a very fine camel's hair brush, (l) others, (m) those that have just broken a flower vase, (n) those that resemble flies from a distance."

"It is clear that there is no classification of the Universe that is not arbitrary and full of conjectures. The reason for this is very simple: we do not know what kind of thing the universe is."

"Cabe ir más lejos; cabe sospechar que no hay universo en el sentido orgánico, unificador, que tiene esa ambiciosa palabra. Si lo hay, falta conjeturar su propósito; falta conjeturar las palabras, las definiciones, las etimologías, las sinonimias, del secreto diccionario de Dios."

"The impossibility of penetrating the divine pattern of the universe cannot stop us from planning human patterns, even though we are conscious they are not definitive. The analytic language of Wilkins is not the least admirable of such patterns."

"On September 20, 1792, Johann Wolfgang von Goethe (who had accompanied the Duke of Weimar on a military expedition to Paris) saw the finest army of Europe inexplicably repulsed at Valmy by some French militiamen, and said to his disconcerted friends: "In this place and on this day, a new epoch in the history of the world is beginning, and we shall be able to say that we have been present at its origin." Since that time historic days have been numerous, and one of the tasks of governments (especially in Italy, Germany, and Russia) has been to fabricate them or to simulate them with an abundance of preconditioning propaganda followed by relentless publicity."

"I have suspected that history, real history, is more modest and that its essential dates may be, for a long time, secret. A Chinese prose writer has observed that the unicorn, because of its own anomaly, will pass unnoticed. Our eyes see what they are accustomed to seeing. Tacitus did not perceive the Crucifixion, although his book recorded it."

"There is a flavor that our time (perhaps surfeited by the clumsy imitations of professional patriots) does not usually perceive without some suspicion: the fundamental flavor of the heroic."

"Only one thing is more admirable than the admirable reply of the Saxon king: that an Icelander, a man of the lineage of the vanquished, has perpetuated the reply. It is as if a Carthaginian had bequeathed to us the memory of the exploit of Regulus. Saxo Grammaticus wrote with justification in his Gesta Danorum: "The men of Thule [Iceland] are very fond of learning and of recording the history of all peoples and they are equally pleased to reveal the excellences of others or of themselves." Not the day when the Saxon said the words, but the day when an enemy perpetuated them, was the historic date. A date that is a prophecy of something still in the future: the day when races and nations will be cast into oblivion, and the solidarity of all mankind will be established."

"Myth is at the beginning of literature, and also at its end."

"Yo, que me figuraba el Paraíso / Bajo la especie de una biblioteca. I have always imagined Paradise as a kind of library."

"The flattery of posterity is not worth much more than contemporary flattery, which is worth nothing."

"Un hombre se propone la tarea de dibujar el mundo. A lo largo de los años puebla un espacio con imágenes de provincias, de reinos, de montañas, de bahías, de naves, de islas, de peces, de habitaciones, de instrumentos, de astros, de caballos y de personas. Poco antes de morir, descubre que ese paciente laberinto de líneas traza la imagen de su cara."

"I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian... But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, 'Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever. Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian... Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time."

"Well, [Lorca had] a gift for gab. For example, he makes striking metaphors, but I think he makes striking metaphors for him, because I think that his world was mostly verbal. I think that he was fond of playing words against each other, the contrast of words, but I wonder if he knew what he was doing."

"Well, he wrote a book -- well, maybe here I'm being political -- he wrote a book about the tyrants of South America, and then he had several stanzas against the United States. Now he knows that that's rubbish. And he had not a word against Perón. Because he had a law suit in Buenos Aires, that was explained to me afterwards, and he didn't care to risk anything. And so, when he was supposed to be writing at the top of his voice, full of noble indignation, he had not a word to say against Perón. And he was married to an Argentine lady, he knew that many of his friends had been sent to jail. He knew all about the state of our country, but not a word against him. At the same time, he was speaking against the United States, knowing the whole thing was a lie, no? But, of course, that doesn't mean anything against his poetry. Neruda is a very fine poet, a great poet in fact. And when they gave Miguel de Asturias the Nobel Prize, I said that it should have been given to Neruda! Now when I was in Chile, and we were on different political sides, I think he did the best thing to do. He went on a holiday during the three or four days I was there so there was no occasion for our meeting. But I think he was acting politely, no? Because he knew that people would be playing him up against me, no? I mean, I was an Argentine, poet, he was a Chilean poet, he's on the side of the Communists, I'm against them. So I felt he was behaving very wisely in avoiding a meeting that would have been quite uncomfortable for both of us."

"This was the first time Remington rifles were used in the Argentine, and it tickles my fancy to think that the firm that shaves me every morning bears the same name as the one that killed my grandfather."

"Of course, like all young men, I tried to be as unhappy as I could — a kind of Hamlet and Raskolnikov rolled into one."

"I found America the friendliest, most forgiving, and most generous nation I had ever visited. We South Americans tend to think of things in terms of convenience, whereas people in the United States approach things ethically. This — amateur Protestant that I am — I admired above all. It even helped me overlook skyscrapers, paper bags, television, plastics, and the unholy jungle of gadgets."

"Any time something is written against me, I not only share the sentiment but feel I could do the job far better myself. Perhaps I should advise would-be enemies to send me their grievances beforehand, with full assurance that they will receive my every aid and support. I have even secretly longed to write, under a pen name, a merciless tirade against myself."

"Both Italo Calvino and Jorge Luis Borges have contributed greatly to our understanding of the fantastic...For Borges, on the other hand, the key to the fantastic resides within the articulation of a new language. His allegories, fictions, poems and essays make a distinction between what language represents and what it wants to represent. Within the border of that which is spoken and that which is not, arises the space that we would call the fantastic, where the unusual does and does not astonish and where magic is also reality."

"I belong to the first generation of Latin American writers brought up reading other Latin American writers. Before my time the work of Latin American writers was not well distributed, even on our continent. In Chile it was very hard to read other writers from Latin America. My greatest influences have been all the great writers of the Latin American Boom in literature: García Márquez, Vargas Llosa, Cortázar, Borges, Paz, Rulfo, Amado, etc."

"I was influenced by all of them-by García Márquez, by Carlos Fuentes, Jorge Luis Borges, Julio Cortázar, José Donoso, so many of them-some of my own generation, like Eduardo Galeano. It's easy for me to write because I don't have to invent anything. They already found a voice, a way of telling us to ourselves, so it's easy."

"Ficciones by Jorge Luis Borges is no longer my favorite short story book. I could name dozens I love more and held more dear—but when I read it, at age 12 I think, maybe younger, it blew my mind in a way that taught me that fiction was a territory of freedom unlike any other, where if I’d venture, I’d have immense powers. The possibilities that these stories offer, the sheer power of the imagination displayed here, is unforgettable. And for me to read it in Spanish, to read this kind of wizardry in my language, was just a joy."

"Borges is the only living successor to Franz Kafka."

"As Borges, the Master, said: “When I heard Funes speak, then I had the story.” One has to let the character speak."

"Extremes of fantastic hope and skepticism paradoxically coexist in Borges' thought. In "Pascal's Sphere" he examines an image which is not only paradoxical in itself — the universe as an infinite sphere, in other words, a boundless form perfectly circumscribed — but which has also served to express diametrically opposite emotions: Bruno's elation and Pascal's anguish. But the other basic symmetry to note here is Borges' history of the metaphor. Not only paradoxes are found throughout this collection, but also various listings of ideas or themes or images which though diverse in origin and detail are essentially the same. In "The Flower of Coleridge" the coincidence of Valéry's, Emerson's, and Shelley's conceptions of all literature as the product of one Author seems itself to bear out that conception. At the beginning of the essay on Hawthorne, Borges again briefly traces the history of a metaphor — the likening of our dreams to a theatrical performance — and adds that true metaphors cannot be invented, since they have always existed. Such "avatars" point beyond the flux and diversity of history to a realm of eternal archetypes, which, though limited in number, "can be all things for all people, like the Apostle." While the paradox upsets our common notions of reality and suggests that irreducible elements are actually one, recurrence negates history and the separateness of individuals. Of course, this too is a paradox, as "New Refutation of Time" shows: time must exist in order to provide the successive identities with which it is to be "refuted." The two symmetries noted above, if we pursue their implications far enough, finally coalesce, with something of the same dizzying sense, so frequent in Borges' stories, of infinite permutations lurking at every turn. Both are uses of what he calls a pantheist extension of the principle of identity — God is all things: a suitably heterogeneous selection of these may allude to Totality — which has, as he notes in the essay on Whitman, unlimited rhetorical possibilities."

"Year after year, I and thousands of members of PEN [an international association that promotes cooperation among writers in the interests of international goodwill and freedom of expression] voted for Jorge Luis Borges, who was the obvious international candidate for the Nobel. They would not consider him. They didn't like his politics."

"Borges is very accessible to English people. English was his first language, did you know that? His grandmother taught him English before he learnt Spanish, and there is something about his writing that comes over in the English."

"When I met Borges some time ago and remarked that I was about to embark on writing a book about Schopenhauer, he became excited and started talked volubly about how much Schopenhauer had meant to him. It was the desire to read Schopenhauer in the original, he said, that had made him learn German; and when people asked him, which they often had, why he with his love of intricate structure had never attempted a systematic exposition of the world-view which underlay his writings, his reply was that he did not do it because it had already been done by Schopenhauer."

"O inventor da literatura virtual, essa sua literatura que parece ter-se desprendido da realidade para melhor revelar os seus invisíveis mistérios."

"(About Pope Francis) remains an enigma of gifts that time and history will reveal. There is still a wealth of qualities that we will discover over time. Pope Francis had a vast theological, literary and philosophical culture. He always presented himself with simplicity, never flaunting his culture, but he was a fine intellectual. Suffice it to say that he was a friend of Jorge Luis Borges, whom he invited to speak at his school in Buenos Aires."

"(What’s your go-to classic? And your favorite book no one else has heard of?) More than any other book, Jorge Luis Borges’s “Labyrinths,” which I discovered when I was 15, showed me what was possible in short prose nonfiction."

"Borges was already considered a sort of genius but “a writer for writers,” nobody else would be able to understand his stories. Or buy his books, for that matter. Much later things changed dramatically, and now his oeuvre is a worldwide reference. One could write forever about this phenomenon. And many many books have been written: Borges and mathematics, Borges and the Kabbala, and so on."

"Borges was very shy and ironic and somewhat self-absorbed. His colleagues admired his writing, of course, but said he was a writer for writers, that the common reader would never understand him."

"He was a walking system of thought. You could see the way his mind worked, since he was offering it so generously-also in a self-centered way, because he didn't care to listen much. He monologued in the most splendid and humorous fashion-he seemed so serious, but was full of wit and naughty humor...The people who surrounded him-the group that visited our home during those years were all great. Borges didn't stand out among the rest; he was so shy. What I do remember are his lectures. I went to every one of them. At times, there would be sudden and long silences; the public suffered, thinking he had lost the thread, but he was simply searching. The minute he opened his mouth again, the exact term emerged like a gem."

"Μῆνιν ἄειδε, θεά, Πηληϊάδεω Ἀχιλῆος οὐλομένην, ἣ μυρί᾽ Ἀχαιοῖς ἄλγε᾽ ἔθηκε, πολλὰς δ᾽ ἰφθίμους ψυχὰς Ἄϊδι προΐαψεν ἡρώων, αὐτοὺς δὲ ἑλώρια τεῦχε κύνεσσιν οἰωνοῖσί τε πᾶσι."

"Διὸς δ’ ἐτελείετο βουλή."

"Ἄναξ ἀνδρῶν."

"Παρὰ θῖνα πολυφλοίσβοιο θαλάσσης."

"Καὶ γάρ τ' ὄναρ ἐκ Διός ἐστιν."

"Ἔπεα πτερόεντα."

"Ὅς κε θεοῖς ἐπιπείθηται μάλα τ' ἔκλυον αὐτοῦ."

"Οἰνοβαρές, κυνὸς ὄμματ' ἔχων, κραδίην δ' ἐλάφοιο."

"Τοῦ καὶ ἀπὸ γλώσσης μέλιτος γλυκίων ῥέεν αὐδή."

"Οὐδέ τι οἶδε νοῆσαι ἅμα πρόσσω καὶ ὀπίσσω."

"Ῥοδοδάκτυλος Ἠώς."

"Ἦ καὶ κυανέῃσιν ἐπ' ὀφρύσι νεῦσε Κρονίων· ἀμβρόσιαι δ' ἄρα χαῖται ἐπεῤῥώσαντο ἄνακτος κρατὸς ἀπ' ἀθανάτοιο· μέγαν δ' ἐλέλιξεν Ὄλυμπον."

"Ἄσβεστος δ' ἄρ' ἐνῶρτο γέλως μακάρεσσι θεοῖσιν ὡς ἴδον Ἥφαιστον διὰ δώματα ποιπνύοντα."

"Οὐκ ἀγαθὸν πολυκοιρανίη· εἷς κοίρανος ἔστω, εἷς βασιλεύς."

"Μένεα πνείοντες."

"Μή μοι δῶρ' ἐρατὰ πρόφερε χρυσέης Ἀφροδίτης· οὔ τοι ἀπόβλητ' ἐστὶ θεῶν ἐρικυδέα δῶρα ὅσσά κεν αὐτοὶ δῶσιν, ἑκὼν δ' οὐκ ἄν τις ἕλοιτο."

"Αἰεὶ δ' ὁπλοτέρων ἀνδρῶν φρένες ἠερέθονται· οἷς δ' ὁ γέρων μετέῃσιν ἅμα πρόσσω καὶ ὀπίσσω λεύσσει, ὅπως ὄχ' ἄριστα μετ' ἀμφοτέροισι γένηται."

"Οὐ νέμεσις Τρῶας καὶ ἐϋκνήμιδας Ἀχαιοὺς τοιῇδ' ἀμφὶ γυναικὶ πολὺν χρόνον ἄλγεα πάσχειν· αἰνῶς ἀθανάτῃσι θεῇς εἰς ὦπα ἔοικεν."

"Ἀλλ' ὅτε δὴ ὄπα τε μεγάλην ἐκ στήθεος εἵη καὶ ἔπεα νιφάδεσσιν ἐοικότα χειμερίῃσιν, ἂν ἔπειτ' Ὀδυσῆΐ γ' ἐρίσσειε βροτὸς ἄλλος· οὐ τότε γ' ὧδ' Ὀδυσῆος ἀγασσάμεθ' εἶδος ἰδόντες."

"Ἠέλιός θ', ὃς πάντ' ἐφορᾷς καὶ πάντ' ἐπακούεις."

"Ἔσσεται ἦμαρ ὅτ' ἄν ποτ' ὀλώλῃ Ἴλιος ἱρὴ καὶ Πρίαμος καὶ λαὸς ἐϋμμελίω Πριάμοιο."

"Τῷ μὲν κλέος, ἄμμι δὲ πένθος."

"Ἀλλ' οὔ πως ἅμα πάντα θεοὶ δόσαν ἀνθρώποισιν."

"Τὸν δ' ἄρ' ὑπόδρα ἰδὼν προσέφη πολύμητις Ὀδυσσεύς· Ἀτρεΐδη ποῖόν σε ἔπος φύγεν ἕρκος ὀδόντων."

"Ἥ τ' ὀλίγη μὲν πρῶτα κορύσσεται, αὐτὰρ ἔπειτα οὐρανῷ ἐστήριξε κάρη καὶ ἐπὶ χθονὶ βαίνει."

"Ὅττι μάλ' οὐ δηναιὸς ὃς ἀθανάτοισι μάχηται, οὐδέ τί μιν παῖδες ποτὶ γούνασι παππάζουσιν ἐκ πολέμοιο καὶ αἰνῆς δηϊοτῆτος."

"Μηδὲ θεοῖσιν ἶσ' ἔθελε φρονέειν, ἐπεὶ οὔ ποτε φῦλον ὁμοῖον ἀθανάτων τε θεῶν χαμαὶ ἐρχομένων τ' ἀνθρώπων."

"Τοίω τὼ χείρεσσιν ὑπ' Αἰνείαο δαμέντε καππεσέτην, ἐλάτῃσιν ἐοικότες ὑψηλῇσι."

"Στέντορι εἰσαμένη μεγαλήτορι χαλκεοφώνῳ, ὃς τόσον αὐδήσασχ' ὅσον ἄλλοι πεντήκοντα."

"Εἰ δέ τίς ἐσσι βροτῶν οἳ ἀρούρης καρπὸν ἔδουσιν, ἆσσον ἴθ' ὥς κεν θᾶσσον ὀλέθρου πείραθ' ἵκηαι."

"Οἵη περ φύλλων γενεὴ τοίη δὲ καὶ ἀνδρῶν. φύλλα τὰ μέν τ' ἄνεμος χαμάδις χέει, ἄλλα δέ θ' ὕλη τηλεθόωσα φύει, ἔαρος δ' ἐπιγίγνεται ὥρη· ὣς ἀνδρῶν γενεὴ ἣ μὲν φύει ἣ δ' ἀπολήγει."

"Αἰὲν ἀριστεύειν καὶ ὑπείροχον ἔμμεναι ἄλλων."

"Ὣς ἄρα φωνήσαντε καθ' ἵππων ἀΐξαντε χεῖράς τ' ἀλλήλων λαβέτην καὶ πιστώσαντο· ἔνθ' αὖτε Γλαύκῳ Κρονίδης φρένας ἐξέλετο Ζεύς, ὃς πρὸς Τυδεΐδην Διομήδεα τεύχε' ἄμειβε χρύσεα χαλκείων, ἑκατόμβοι' ἐννεαβοίων."

"Ἀνδρὶ δὲ κεκμηῶτι μένος μέγα οἶνος ἀέξει."

"Νίκη δ᾽ ἐπαμείβεται ἄνδρας."

"Καί ποτέ τις εἴποι πατρός γ' ὅδε πολλὸν ἀμείνων."

"Δακρυόεν γελάσασα."

"Μοῖραν δ' οὔ τινά φημι πεφυγμένον ἔμμεναι ἀνδρῶν, οὐ κακὸν οὐδὲ μὲν ἐσθλόν, ἐπὴν τὰ πρῶτα γένηται."

"Αἴδεσθεν μὲν ἀνήνασθαι, δεῖσαν δ' ὑποδέχθαι."

"Ἀλλ' ὑμεῖς μὲν πάντες ὕδωρ καὶ γαῖα γένοισθε ἥμενοι αὖθι ἕκαστοι ἀκήριοι ἀκλεὲς αὔτως."

"Μήκων δ' ὡς ἑτέρωσε κάρη βάλεν, ἥ τ' ἐνὶ κήπῳ καρπῷ βριθομένη νοτίῃσί τε εἰαρινῇσιν, ὣς ἑτέρωσ' ἤμυσε κάρη πήληκι βαρυνθέν."

"Ἐν δ' ἔπεσ' Ὠκεανῷ λαμπρὸν φάος ἠελίοιο ἕλκον νύκτα μέλαιναν ἐπὶ ζείδωρον ἄρουραν."

"Ὡς δ' ὅτ' ἐν οὐρανῷ ἄστρα φαεινὴν ἀμφὶ σελήνην φαίνετ' ἀριπρεπέα, ὅτε τ' ἔπλετο νήνεμος αἰθήρ· ἔκ τ' ἔφανεν πᾶσαι σκοπιαὶ καὶ πρώονες ἄκροι καὶ νάπαι· οὐρανόθεν δ' ἄρ' ὑπεῤῥάγη ἄσπετος αἰθήρ, πάντα δὲ εἴδεται ἄστρα, γέγηθε δέ τε φρένα ποιμήν."

"Ἀφρήτωρ ἀθέμιστος ἀνέστιός ἐστιν ἐκεῖνος ὃς πολέμου ἔραται ἐπιδημίου ὀκρυόεντος."

"Ἐχθρὸς γάρ μοι κεῖνος ὁμῶς Ἀΐδαο πύλῃσιν ὅς χ' ἕτερον μὲν κεύθῃ ἐνὶ φρεσίν, ἄλλο δὲ εἴπῃ."

"Κάτθαν' ὁμῶς ὅ τ' ἀεργὸς ἀνὴρ ὅ τε πολλὰ ἐοργώς."

"Ἀνδρὸς δὲ ψυχὴ πάλιν ἐλθεῖν οὔτε λεϊστὴ οὔθ' ἑλετή, ἐπεὶ ἄρ κεν ἀμείψεται ἕρκος ὀδόντων."

"εἰ μέν κ᾽ αὖθι μένων Τρώων πόλιν ἀμφιμάχωμαι, ὤλετο μέν μοι νόστος, ἀτὰρ κλέος ἄφθιτον ἔσται."

"Μύθων τε ῥητῆρ' ἔμεναι πρηκτῆρά τε ἔργων."

"Καὶ γάρ τε λιταί εἰσι Διὸς κοῦραι μεγάλοιο χωλαί τε ῥυσαί τε παραβλῶπές τ' ὀφθαλμώ, αἵ ῥά τε καὶ μετόπισθ' ἄτης ἀλέγουσι κιοῦσαι."

"Ἐπὶ ξυροῦ ἵσταται ἀκμῆς ...ὄλεθρος...Ἀχαιοῖς ἠὲ βιῶναι."

"Ἰητρὸς γὰρ ἀνὴρ πολλῶν ἀντάξιος ἄλλων ἰούς τ' ἐκτάμνειν ἐπί τ' ἤπια φάρμακα πάσσειν."

"Εἷς οἰωνὸς ἄριστος ἀμύνεσθαι περὶ πάτρης."

"Ὦ πέπον εἰ μὲν γὰρ πόλεμον περὶ τόνδε φυγόντε αἰεὶ δὴ μέλλοιμεν ἀγήρω τ' ἀθανάτω τε ἔσσεσθ', οὔτέ κεν αὐτὸς ἐνὶ πρώτοισι μαχοίμην οὔτέ κε σὲ στέλλοιμι μάχην ἐς κυδιάνειραν· νῦν δ' ἔμπης γὰρ κῆρες ἐφεστᾶσιν θανάτοιο μυρίαι, ἃς οὐκ ἔστι φυγεῖν βροτὸν οὐδ' ὑπαλύξαι, ἴομεν ἠέ τῳ εὖχος ὀρέξομεν ἠέ τις ἡμῖν."

"Φράξαντες δόρυ δουρί, σάκος σάκεϊ προθελύμνῳ· ἀσπὶς ἄρ' ἀσπίδ' ἔρειδε, κόρυς κόρυν, ἀνέρα δ' ἀνήρ."

"Τοὶ δ' ἔριδος κρατερῆς καὶ ὁμοιΐου πτολέμοιο πεῖραρ ἐπαλλάξαντες ἐπ' ἀμφοτέροισι τάνυσσαν ἄῤῥηκτόν τ' ἄλυτόν τε, τὸ πολλῶν γούνατ' ἔλυσεν."

"Ἄλλῳ μὲν γὰρ ἔδωκε θεὸς πολεμήϊα ἔργα, ἄλλῳ δ' ὀρχηστύν, ἑτέρῳ κίθαριν καὶ ἀοιδήν, ἄλλῳ δ' ἐν στήθεσσι τιθεῖ νόον εὐρύοπα Ζεὺς ἐσθλόν, τοῦ δέ τε πολλοὶ ἐπαυρίσκοντ' ἄνθρωποι."

"Οὐ γάρ τις νέμεσις φυγέειν κακόν, οὐδ' ἀνὰ νύκτα. βέλτερον ὃς φεύγων προφύγῃ κακὸν ἠὲ ἁλώῃ."

"Ἔνθ' ἔνι μὲν φιλότης, ἐν δ' ἵμερος, ἐν δ' ὀαριστὺς πάρφασις, ἥ τ' ἔκλεψε νόον πύκα περ φρονεόντων."

"Ἔνθ' Ὕπνῳ ξύμβλητο κασιγνήτῳ Θανάτοιο."

"Ὕπνε ἄναξ πάντων τε θεῶν πάντων τ' ἀνθρώπων."

"Ῥεῖα δ' ἀρίγνωτος Διὸς ἀνδράσι γίγνεται ἀλκή."

"Οὔ οἱ ἀεικὲς ἀμυνομένῳ περὶ πάτρης τεθνάμεν."

"Αἰδομένων δ' ἀνδρῶν πλέονες σόοι ἠὲ πέφανται· φευγόντων δ' οὔτ' ἂρ κλέος ὄρνυται οὔτέ τις ἀλκή."

"Ἀλλ' εἰ δή ῥα τότε βλάπτε φρένας εὐρύοπα Ζεὺς ἡμετέρας, νῦν αὐτὸς ἐποτρύνει καὶ ἀνώγει."

"Ἐν γὰρ χερσὶ τέλος πολέμου, ἐπέων δ' ἐνὶ βουλῇ."

"Πέμπε δέ μιν πομποῖσιν ἅμα κραιπνοῖσι φέρεσθαι ὕπνῳ καὶ θανάτῳ διδυμάοσιν, οἵ ῥά μιν ὦκα θήσουσ' ἐν Λυκίης εὐρείης πίονι δήμῳ."

"Ἀλλ' αἰεί τε Διὸς κρείσσων νόος ἠέ περ ἀνδρῶν."

"Ὃ δ' ἐν στροφάλιγγι κονίης κεῖτο μέγας μεγαλωστί, λελασμένος ἱπποσυνάων."

"I am foremost of all the Trojan warriors to stave the day of bondage from off them; as for you, vultures shall devour you here."

"I say further, and lay my saying to your heart, you too shall live but for a little season; death and the day of your doom are close upon you, and they will lay you low by the hand of Achilles son of Aiakos."

"Ῥεχθὲν δέ τε νήπιος ἔγνω."

"Οὐ μὲν γάρ τί πού ἐστιν ὀϊζυρώτερον ἀνδρὸς πάντων, ὅσσά τε γαῖαν ἔπι πνείει τε καὶ ἕρπει."

"Ἥσω γὰρ καὶ ἐγώ, τὰ δέ κεν Διὶ πάντα μελήσει."

"Ὡς ἔρις ἔκ τε θεῶν ἔκ τ' ἀνθρώπων ἀπόλοιτο καὶ χόλος, ὅς τ' ἐφέηκε πολύφρονά περ χαλεπῆναι, ὅς τε πολὺ γλυκίων μέλιτος καταλειβομένοιο ἀνδρῶν ἐν στήθεσσιν ἀέξεται ἠΰτε καπνός."

"Ἀλλ' οὐ Ζεὺς ἄνδρεσσι νοήματα πάντα τελευτᾷ."

"Θεὸς διὰ πάντα τελευτᾷ."

"Οὐ γὰρ ἀνὴρ πρόπαν ἦμαρ ἐς ἠέλιον καταδύντα ἄκμηνος σίτοιο δυνήσεται ἄντα μάχεσθαι."

"Στρεπτὴ δὲ γλῶσσ' ἐστὶ βροτῶν, πολέες δ' ἔνι μῦθοι παντοῖοι, ἐπέων δὲ πολὺς νομὸς ἔνθα καὶ ἔνθα."

"Ἀλλ' ἔπι τοι καὶ ἐμοὶ θάνατος καὶ μοῖρα κραταιή· ἔσσεται ἢ ἠὼς ἢ δείλη ἢ μέσον ἦμαρ ὁππότε τις καὶ ἐμεῖο Ἄρῃ ἐκ θυμὸν ἕληται ἢ ὅ γε δουρὶ βαλὼν ἢ ἀπὸ νευρῆφιν ὀϊστῷ."

"Ἐννοσίγαι' οὐκ ἄν με σαόφρονα μυθήσαιο ἔμμεναι, εἰ δὴ σοί γε βροτῶν ἕνεκα πτολεμίξω δειλῶν, οἳ φύλλοισιν ἐοικότες ἄλλοτε μέν τε ζαφλεγέες τελέθουσιν ἀρούρης καρπὸν ἔδοντες, ἄλλοτε δὲ φθινύθουσιν ἀκήριοι."

"Ὡς οὐκ ἔστι λέουσι καὶ ἀνδράσιν ὅρκια πιστά, οὐδὲ λύκοι τε καὶ ἄρνες ὁμόφρονα θυμὸν ἔχουσιν."

"Νῦν αὖτέ με μοῖρα κιχάνει. μὴ μὰν ἀσπουδί γε καὶ ἀκλειῶς ἀπολοίμην, ἀλλὰ μέγα ῥέξας τι καὶ ἐσσομένοισι πυθέσθαι."

"Μή με κύον γούνων γουνάζεο μὴ δὲ τοκήων."

"Ὢ πόποι ἦ ῥά τίς ἐστι καὶ εἰν Ἀΐδαο δόμοισι ψυχὴ καὶ εἴδωλον, ἀτὰρ φρένες οὐκ ἔνι πάμπαν."

"Μήτι τοι δρυτόμος μέγ' ἀμείνων ἠὲ βίηφι· μήτι δ' αὖτε κυβερνήτης ἐνὶ οἴνοπι πόντῳ νῆα θοὴν ἰθύνει ἐρεχθομένην ἀνέμοισι· μήτι δ' ἡνίοχος περιγίγνεται ἡνιόχοιο."

"Τλητὸν γὰρ Μοῖραι θυμὸν θέσαν ἀνθρώποισιν."

"Ἄγχι δ' ἄρα στὰς ... χερσὶν Ἀχιλλῆος λάβε γούνατα καὶ κύσε χεῖρας δεινὰς ἀνδροφόνους, αἵ οἱ πολέας κτάνον υἷας."

"Ἔτλην δ' οἷ' οὔ πώ τις ἐπιχθόνιος βροτὸς ἄλλος, ἀνδρὸς παιδοφόνοιο ποτὶ στόμα χεῖρ' ὀρέγεσθαι."

"Ἄλγεα δ' ἔμπης ἐν θυμῷ κατακεῖσθαι ἐάσομεν ἀχνύμενοί περ· οὐ γάρ τις πρῆξις πέλεται κρυεροῖο γόοιο· ὡς γὰρ ἐπεκλώσαντο θεοὶ δειλοῖσι βροτοῖσι ζώειν ἀχνυμένοις· αὐτοὶ δέ τ' ἀκηδέες εἰσί."

"Καὶ σὲ γέρον τὸ πρὶν μὲν ἀκούομεν ὄλβιον εἶναι."

"Ἄνδρα μοι ἔννεπε, Μοῦσα, πολύτροπον, ὃς μάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσε· πολλῶν δ’ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ’ ὅ γ’ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυμόν, ἀρνύμενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων."

"Αὐτῶν γὰρ σφετέρῃσιν ἀτασθαλίῃσιν ὄλοντο."

"ὢ πόποι, οἷον δή νυ θεοὺς βροτοὶ αἰτιόωνται. ἐξ ἡμέων γάρ φασι κάκ' ἔμμεναι· οἱ δὲ καὶ αὐτοὶ σφῇσιν ἀτασθαλίῃσιν ὑπὲρ μόρον ἄλγε' ἔχουσιν."

"Ἱέμενος καὶ καπνὸν ἀποθρῴσκοντα νοῆσαι ἧς γαίης, θανέειν ἱμείρεται."

"Οὐκ οἶδ'· οὐ γάρ πώ τις ἑὸν γόνον αὐτὸς ἀνέγνω."

"Ταῦτα θεῶν ἐν γούνασι κεῖται."

"Παῦροι γάρ τοι παῖδες ὁμοῖοι πατρὶ πέλονται, οἱ πλέονες κακίους, παῦροι δέ τε πατρὸς ἀρείους."

"Τοῖσιν δ' ἴκμενον οὖρον ἵει γλαυκῶπις Ἀθήνη, ἀκραῆ ζέφυρον, κελάδοντ' ἐπὶ οἴνοπα πόντον."

"Τηλέμαχ', ἄλλα μὲν αὐτὸς ἐνὶ φρεσὶ σῇσι νοήσεις, ἄλλα δὲ καὶ δαίμων ὑποθήσεται."

"Πάντες δὲ θεῶν χατέουσ' ἄνθρωποι."

"Ψεῦδος δ' οὐκ ἐρέει· μάλα γὰρ πεπνυμένος ἐστίν."

"Νεμεσσῶμαί γε μὲν οὐδὲν κλαίειν, ὅς κε θάνῃσι βροτῶν καὶ πότμον ἐπίσπῃ. τοῦτό νυ καὶ γέρας οἶον ὀϊζυροῖσι βροτοῖσι, κείρασθαί τε κόμην βαλέειν τ' ἀπὸ δάκρυ παρειῶν."

"θεοὶ δέ τε πάντα ἴσασιν."

"Οὐδέ μοι αὐτῇ θυμὸς ἐνὶ στήθεσσι σιδήρεος, ἀλλ' ἐλεήμων."

"Ἀλλὰ καὶ ὧς ἐθέλω καὶ ἐέλδομαι ἤματα πάντα οἴκαδέ τ' ἐλθέμεναι καὶ νόστιμον ἦμαρ ἰδέσθαι."

"Τλήσομαι ἐν στήθεσσιν ἔχων ταλαπενθέα θυμόν· ἤδη γὰρ μάλα πολλὰ πάθον καὶ πολλὰ μόγησα."

"Σοὶ δὲ θεοὶ τόσα δοῖεν, ὅσα φρεσὶ σῇσι μενοινᾷς, ἄνδρα τε καὶ οἶκον, καὶ ὁμοφροσύνην ὀπάσειαν ἐσθλήν· οὐ μὲν γὰρ τοῦ γε κρεῖσσον καὶ ἄρειον, ἢ ὅθ' ὁμοφρονέοντε νοήμασιν οἶκον ἔχητον ἀνὴρ ἠδὲ γυνή· πόλλ' ἄλγεα δυσμενέεσσι, χάρματα δ' εὐμενέτῃσι· μάλιστα δέ τ' ἔκλυον αὐτοί."

"Ζεὺς δ' αὐτὸς νέμει ὄλβον Ὀλύμπιος ἀνθρώποισιν, ἐσθλοῖσ' ἠδὲ κακοῖσιν, ὅπως ἐθέλῃσιν, ἑκάστῳ."

"Οὐ γάρ τι στυγερῇ ἐπὶ γαστέρι κύντερον ἄλλο ἔπλετο, ἥ τ' ἐκέλευσεν ἕο μνήσασθαι ἀνάγκῃ καὶ μάλα τειρόμενον καὶ ἐνὶ φρεσὶ πένθος ἔχοντα."

"Οὕτως οὐ πάντεσσι θεοὶ χαρίεντα διδοῦσιν ἀνδράσιν, οὔτε φυὴν οὔτ’ ἂρ φρένας οὔτ’ ἀγορητύν."

"Τῶν δ' ἄλλων ἐμέ φημι πολὺ προφερέστερον εἶναι, ὅσσοι νῦν βροτοί εἰσιν ἐπὶ χθονὶ σῖτον ἔδοντες."

"Οὐκ ἀρετᾷ κακὰ ἔργα· κιχάνει τοι βραδὺς ὠκύν, ὡς καὶ νῦν Ἥφαιστος ἐὼν βραδὺς εἷλεν Ἄρηα, ὠκύτατόν περ ἐόντα θεῶν, οἳ Ὄλυμπον ἔχουσιν."

"Δειλαί τοι δειλῶν γε καὶ ἐγγύαι ἐγγυάασθαι."

"Ἐπεὶ οὐ μέν τι κασιγνήτοιο χερείων γίνεται, ὅς κεν ἑταῖρος ἐὼν πεπνυμένα εἰδῇ."

"Τί πρῶτόν τοι ἔπειτα, τί δ' ὑστάτιον καταλέξω."

"Ὡς οὐδὲν γλύκιον ἧς πατρίδος οὐδὲ τοκήων γίνεται, εἴ περ καί τις ἀπόπροθι πίονα οἶκον γαίῃ ἐν ἀλλοδαπῇ ναίει ἀπάνευθε τοκήων."

"Οὖτις ἐμοί γ' ὄνομα."

"Τοὺς δ' αὖτ' ἐξ ἄντρου προσέφη κρατερὸς Πολύφημος· «ὦ φίλοι, Οὖτίς με κτείνει δόλῳ οὐδὲ βίηφιν.»"

"Νεκύων ἀμενηνὰ κάρηνα."

"Μή μ' ἄκλαυτον ἄθαπτον ἰὼν ὄπιθεν καταλείπειν νοσφισθείς."

"Τρὶς μὲν ἐφωρμήθην, ἑλέειν τέ με θυμὸς ἀνώγει, τρὶς δέ μοι ἐκ χειρῶν σκιῇ εἴκελον ἢ καὶ ὀνείρῳ ἔπτατ'."

"Ὥρη μὲν πολέων μύθων, ὥρη δὲ καὶ ὕπνου."

"Ἐπεὶ οὐκέτι πιστὰ γυναιξίν."

"βουλοίμην κ' ἐπάρουρος ἐὼν θητευέμεν ἄλλῳ, ἀνδρὶ παρ' ἀκλήρῳ, ᾧ μὴ βίοτος πολὺς εἴη, ἢ πᾶσιν νεκύεσσι καταφθιμένοισιν ἀνάσσειν."

"Καὶ μὴν Σίσυφον εἰσεῖδον κρατέρ' ἄλγε' ἔχοντα, λᾶαν βαστάζοντα πελώριον ἀμφοτέρῃσιν. τοι ὁ μὲν σκηριπτόμενος χερσίν τε ποσίν τε λᾶαν ἄνω ὤθεσκε ποτὶ λόφον· ἀλλ' ὅτε μέλλοι ἄκρον ὑπερβαλέειν, τότ' ἀποστρέψασκε Κραταιΐς· αὖτις ἔπειτα πέδονδε κυλίνδετο λᾶας ἀναιδής."

"Ὦ φίλοι, οὐ γάρ πώ τι κακῶν ἀδαήμονές εἰμεν."

"Πάντες μὲν στυγεροὶ θάνατοι δειλοῖσι βροτοῖσι, λιμῷ δ' οἴκτιστον θανέειν καὶ πότμον ἐπισπεῖν."

"βούλομ' ἅπαξ πρὸς κῦμα χανὼν ἀπὸ θυμὸν ὀλέσσαι ἢ δηθὰ στρεύγεσθαι ἐὼν ἐν νήσῳ ἐρήμῃ."

"Ἐχθρὸν δέ μοί ἐστιν αὖτις ἀριζήλως εἰρημένα μυθολογεύειν."

"Καὶ τῷ νήδυμος ὕπνος ἐπὶ βλεφάροισιν ἔπιπτε, νήγρετος ἥδιστος, θανάτῳ ἄγχιστα ἐοικώς."

"Γήθησέν τ' ἄρ' ἔπειτα πολύτλας δῖος Ὀδυσσεὺς χαίρων ᾗ γαίῃ, κύσε δὲ ζείδωρον ἄρουραν."

"Ξεῖν', οὔ μοι θέμις ἔστ', οὐδ' εἰ κακίων σέθεν ἔλθοι, ξεῖνον ἀτιμῆσαι· πρὸς γὰρ Διός εἰσιν ἅπαντες ξεῖνοί τε πτωχοί τε. δόσις δ' ὀλίγη τε φίλη τε γίνεται ἡμετέρη."

"Οὐ μὲν σχέτλια ἔργα θεοὶ μάκαρες φιλέουσιν, ἀλλὰ δίκην τίουσι καὶ αἴσιμα ἔργ' ἀνθρώπων."

"Ἄλλος γάρ τ' ἄλλοισιν ἀνὴρ ἐπιτέρπεται ἔργοις."

"εὐξάμενός τι ἔπος ἐρέω· οἶνος γὰρ ἀνώγει, ἠλεός, ὅς τ' ἐφέηκε πολύφρονά περ μάλ' ἀεῖσαι καί θ' ἁπαλὸν γελάσαι καί τ' ὀρχήσασθαι ἀνῆκε, καί τι ἔπος προέηκεν, ὅ πέρ τ' ἄῤῥητον ἄμεινον."

"Μή νύ τι σεῦ ἀέκητι δόμων ἐκ κτῆμα φέρηται. οἶσθα γὰρ οἷος θυμὸς ἐνὶ στήθεσσι γυναικός· κείνου βούλεται οἶκον ὀφέλλειν, ὅς κεν ὀπυίῃ, παίδων δὲ προτέρων καὶ κουριδίοιο φίλοιο οὐκέτι μέμνηται τεθνηότος οὐδὲ μεταλλᾷ."

"Τοῦ γάρ τε ξεῖνος μιμνῄσκεται ἤματα πάντα ἀνδρὸς ξεινοδόκου, ὅς κεν φιλότητα παράσχῃ."

"ἶσόν τοι κακόν ἐσθ', ὅς τ' οὐκ ἐθέλοντα νέεσθαι ξεῖνον ἐποτρύνῃ καὶ ὃς ἐσσύμενον κατερύκῃ. χρὴ ξεῖνον παρεόντα φιλεῖν, ἐθέλοντα δὲ πέμπειν."

"Αἵδε δὲ νύκτες ἀθέσφατοι· ἔστι μὲν εὕδειν, ἔστι δὲ τερπομένοισιν ἀκουέμεν· οὐδέ τί σε χρή, πρὶν ὥρη, καταλέχθαι· ἀνίη καὶ πολὺς ὕπνος."

"Νῶϊ δ' ἐνὶ κλισίῃ πίνοντέ τε δαινυμένω τε κήδεσιν ἀλλήλων τερπώμεθα λευγαλέοισι μνωομένω· μετὰ γάρ τε καὶ ἄλγεσι τέρπεται ἀνήρ, ὅς τις δὴ μάλα πολλὰ πάθῃ καὶ πόλλ' ἐπαληθῇ."

"Υἱὸν κύσε, κὰδ δὲ παρειῶν δάκρυον ἧκε χαμᾶζε· πάρος δ' ἔχε νωλεμὲς αἰεί."

"Ῥηΐδιον δὲ θεοῖσι, τοὶ οὐρανὸν εὐρὺν ἔχουσιν, ἠμὲν κυδῆναι θνητὸν βροτὸν ἠδὲ κακῶσαι."

"Κοίτου τε μνήσαντο καὶ ὕπνου δῶρον ἕλοντο."

"Ἔσθλ' ἀγορεύοντες, κακὰ δὲ φρεσὶ βυσσοδόμευον."

"Νῦν μὲν δὴ μάλα πάγχυ κακὸς κακὸν ἡγηλάζει, ὡς αἰεὶ τὸν ὁμοῖον ἄγει θεὸς ὡς τὸν ὁμοῖον."

"Αὐτὰρ μῆλα κακοὶ φθείρουσι νομῆες."

"Δμῶες δ', εὖτ' ἂν μηκέτ' ἐπικρατέωσιν ἄνακτες, οὐκέτ' ἔπειτ' ἐθέλουσιν ἐναίσιμα ἐργάζεσθαι· ἥμισυ γάρ τ' ἀρετῆς ἀποαίνυται εὐρύοπα Ζεὺς ἀνέρος, εὖτ' ἄν μιν κατὰ δούλιον ἦμαρ ἕλῃσιν."

"Αἰδὼς δ' οὐκ ἀγαθὴ κεχρημένῳ ἀνδρὶ παρεῖναι."

"Ἐπεὶ οὔ τις ἐπίσχεσις οὐδ' ἐλεητὺς ἀλλοτρίων χαρίσασθαι."

"Εἰ δή πού τις ἐπουράνιος θεός ἐστι."

"Καί τε θεοὶ ξείνοισιν ἐοικότες ἀλλοδαποῖσι, παντοῖοι τελέθοντες, ἐπιστρωφῶσι πόληας, ἀνθρώπων ὕβριν τε καὶ εὐνομίην ἐφορῶντες."

"Οὐδὲν ἀκιδνότερον γαῖα τρέφει ἀνθρώποιο πάντων, ὅσσα τε γαῖαν ἔπι πνείει τε καὶ ἕρπει."

"Ἀλλ' ὅ γε σιγῇ δῶρα θεῶν ἔχοι, ὅττι διδοῖεν."

"Αὐτὸς γὰρ ἐφέλκεται ἄνδρα σίδηρος."

"Αἶψα γὰρ ἐν κακότητι βροτοὶ καταγηράσκουσιν."

"Δοιαὶ γάρ τε πύλαι ἀμενηνῶν εἰσὶν ὀνείρων· αἱ μὲν γὰρ κεράεσσι τετεύχαται, αἱ δ' ἐλέφαντι. τῶν οἳ μέν κ' ἔλθωσι διὰ πριστοῦ ἐλέφαντος, οἵ ῥ' ἐλεφαίρονται, ἔπε' ἀκράαντα φέροντες· οἳ δὲ διὰ ξεστῶν κεράων ἔλθωσι θύραζε, οἵ ῥ' ἔτυμα κραίνουσι, βροτῶν ὅτε κέν τις ἴδηται."

"Ἀλλ' οὐ γάρ πως ἔστιν ἀΰπνους ἔμμεναι αἰὲν ἀνθρώπους· ἐπὶ γάρ τοι ἑκάστῳ μοῖραν ἔθηκαν ἀθάνατοι θνητοῖσιν ἐπὶ ζείδωρον ἄρουραν."

"Τέτλαθι δή, κραδίη· καὶ κύντερον ἄλλο ποτ' ἔτλης."

"Νύκτας δ' ὕπνος ἔχῃσιν, – ὁ γάρ τ' ἐπέλησεν ἁπάντων, ἐσθλῶν ἠδὲ κακῶν, ἐπεὶ ἂρ βλέφαρ' ἀμφικαλύψῃ."

"Μείδησε δὲ θυμῷ σαρδάνιον μάλα τοῖον."

"Ὡς ὅτ' ἀνὴρ φόρμιγγος ἐπιστάμενος καὶ ἀοιδῆς ῥηϊδίως ἐτάνυσσε νέῳ περὶ κόλλοπι χορδήν."

"Ὡς κακοεργίης εὐεργεσίη μέγ' ἀμείνων."

"Ἔστι γὰρ ἥμιν σήμαθ', ἃ δὴ καὶ νῶϊ κεκρυμμένα ἴδμεν ἀπ' ἄλλων."

"Ὅτε οἱ γλυκὺς ὕπνος λυσιμελὴς ἐπόρουσε, λύων μελεδήματα θυμοῦ."

"Τοὶ δ' ἀλλήλους φιλεόντων ὡς τὸ πάρος, πλοῦτος δὲ καὶ εἰρήνη ἅλις ἔστω."

"Men grow tired of sleep, love, singing and dancing, sooner than of war."

"A blind man; he dwells on the rocky Chios; and his songs are the first among men."

"O fortunate adolescens, qui tuae virtutis Homerum praeconem inveneris!"

"Omero poeta sovrano"

"Ὥσπερ δὲ καὶ τὰ σπουδαῖα μάλιστα ποιητὴς Ὅμηρος ἦν (μόνος γὰρ οὐχ ὅτι εὖ ἀλλὰ καὶ μιμήσεις δραματικὰς ἐποίησεν), οὕτως καὶ τὸ τῆς κωμῳδίας σχῆμα πρῶτος ὑπέδειξεν, οὐ ψόγον ἀλλὰ τὸ γελοῖον δραματοποιήσας· ὁ γὰρ Μαργίτης ἀνάλογον ἔχει, ὥσπερ Ἰλιὰς καὶ ἡ Ὀδύσσεια πρὸς τὰς τραγῳδίας."

"Δεδίδαχεν δὲ μάλιστα Ὅμηρος καὶ τοὺς ἄλλους ψευδῆ λέγειν ὡς δεῖ."

"The translator of Homer should above all be penetrated by a sense of four qualities of his author:—that he is eminently rapid; that he is eminently plain and direct both in the evolution of his thought and in the expression of it, that is, both in his syntax and in his words; that he is eminently plain and direct in the substance of his thought, that is, in his matter and ideas; and, finally, that he is eminently noble."

"Homer, for his astonishing variety, animation, and sublimity, has not a warmer admirer than myself; he has been for three thousand years, like a reigning sovereign, applauded as a matter of course, whether from love or fear; for no man with safety to his own character can refuse to join the chorus of his praise. I never can express (and his other admirers have not done it for me) the pleasure I receive from his poems; but in a view of philanthropy, I consider his existence as having been a serious misfortune to the human race. He has given to military life a charm which few men can resist, a splendor which envelopes the scenes of carnage in a cloud of glory, which dazzles the eyes of every beholder, steals from us our natural sensibilities in exchange for the artificial, debases men to brutes under the pretext of exalting them to gods, and obliterates with the same irresistible stroke the moral duties of life and the true policy of nations. Alexander is not the only human monster that has been formed after the model of Achilles; nor Persia and Egypt the only countries depopulated for no other reason than the desire of rivalling predecessors in military fame."

"One of the earliest- and perhaps the first-rivals of the hymnology of war, hatred, and revenge made immortal by Homer was the poetry of an Aeolian woman called Sappha by her people but uniformly known to later times as Sappho... Much of Sappho's poetry was of a plaintive tenderness but she had a fervid feeling for love as a saving grace. Several of her feminine disciples also sang of the beauty and healing force of love. Solon the law-giver and Plato the philosopher were deeply affected by her hymns to the great idea of a social power unrecognized by "the Bible of the Greeks": Homer."

"Homer is the most simple in his style of all the great poets, and resembles most the style of the poetical parts of the Old Testament. They can have no conception of his manner, who are acquainted with him in Mr. Pope's translation only. An excellent poetical performance that translation is, and faithful in the main to the original. In some places, it may be thought to have even improved Homer. It has certainly softened some of his rudenesses, and added delicacy and grace to some of his sentiments. But withal, it is no other than Homer modernised. In the midst of the elegance and luxuriancy of Mr. Pope's language, we lose sight of the old bard's simplicity. I know indeed no author, to whom it is more difficult to do justice in a translation, than Homer."

"They say no woman could possibly have written the Odyssey. To me, on the other hand, it seems even less possible that a man could have done so. As for its being by a practised and elderly writer, nothing but youth and inexperience could produce anything so naïve and so lovely."

"Homer's poems were writ from a free fury, an absolute and full soul; Virgil's out of a courtly, laborious, and altogether imitatory spirit: not a simile he hath but is Homer's; not an invention, person, or disposition but is wholly or originally built upon Homerical foundations, and in many places hath the very words Homer useth; ... all Homer's books are such as have been precedents ever since of all sorts of poems; imitating none, nor ever worthily imitated of any."

"Of all books extant in all kinds, Homer is the first and best."

"Somewhere along the Ionian coast opposite Crete and the islands was a town of some sort, probably of the sort that we should call a village or hamlet with a wall. It was called Ilion but it came to be called Troy, and the name will never perish from the earth. A poet who may have been a beggar and a ballad-monger, who may have been unable to read and write, and was described by tradition as a blind, composed a poem about the Greeks going to war with this town to recover the most beautiful woman in the world. That the most beautiful woman in the world lived in that one little town sounds like a legend; that the most beautiful poem in the world was written by somebody who knew of nothing larger than such little towns is a historical fact."

"Mr. Gladstone read Homer for fun, which I thought served him right."

"Homer is a world; Virgil, a style."

"I have found by trial Homer a more pleasing task than Virgil... For the Grecian is more according to my genius than the Latin poet. [...] Virgil was of a quiet, sedate temper; Homer was violent, impetuous, and full of fire. The chief talent of Virgil was propriety of thoughts, and ornament of words; Homer was rapid in his thoughts, and took all the liberties, both of numbers and of expressions, which his language and the age in which he lived allowed him."

"It is hardly possible to overestimate the importance for Western Literature of the Iliads demonstration that the fall of an enemy, no less than of a friend or leader, is tragic and not comic. With the Iliad, once for all, an objective and disinterested element enters into the poet's vision of human life. Without this element, poetry is merely instrumental to various social aims, to propaganda, to amusement, to devotion, to instruction: with it, it acquires the authority that since the Iliad it has never lost, an authority based, like the authority of science, on the vision of nature as an impersonal order."

"The Homeric epics are the oldest poems in Greek that survive, but certainly not the oldest there were. It is not merely that their structure is too complicated and that we can point to contradictions in their contents; the legend of Homer himself contains many features incompatible with the portrait of the poet which we should construct from the sophisticated, sceptical and even frivolous spirit of the poems. The traditional picture of the blind old singer of Chios is largely made up of memories that go back to the time when a poet was a vates— a priestly and God-inspired seer. His blindness is merely the outward sign of the inward light that fills his being and enables him to see things others cannot see. This bodily infirmity expresses— as does the lameness of the divine smith Hephaestus—a second idea that was current in primitive times, that a maker of poems, ornaments and other products of handicraft can only come from the ranks of those who are unfit for war and foray. But apart from this feature, the legendary ‘Homer’ is an almost perfect example of the mythical poet who was still half-divine, a wonder-worker and a prophet. We find the clearest embodiment of this idea in Orpheus, the primeval singer who had his harp from Apollo and instruction in the art of song from the Muse herself; with his music he could move not merely men and beasts but even rocks and could reclaim Eurydice from the bonds of death. ‘Homer’ no longer boasts such magical power, but still retains the features of an inspired seer and remains conscious of a mysterious and sacred intimacy with the Muse whom he so confidently invokes."

"Seven cities warred for Homer, being dead, Who, living, had no roof to shroud his head."

"The poems of Homer purported to describe events of the early heroic golden age of , but many of the economic customs Homer described were more characteristic of the late barbaric period, just before 800 B.C.(?), when the epics were supposed to have been written. The forms of government and the economy they describe were feudal, and in some respects resembled Europe's Dark Ages. ..."Gifts" often took the place of royal revenues, taxes, and payments. ...Even craftsmen were often paid for their services in "gifts". Royal revenues also were derived from the king's personal estate, the duty of personal service, tribute, the spoils of war, piracy, and cattle raids. Armies lived off plunder; conquerors were free from taxation."

"Indignor quandoque bonus dormitat Homerus."

"The Homeric poems were to the Greeks more than national poems have ever been to any people."

"The Iliad and the Odyssey belong to the end, not to the beginning, of a poetical epoch. They mark the highest point reached by a school of poetry in Ionia, which began by shaping the rude war-songs of Aeolic bards into short lays, and gradually developed a style suited to heroic narrative."

"In the comparison of Homer and Virgil, the discriminative excellence of Homer is elevation and comprehension of thought, and that of Virgil is grace and splendor of diction. The beauties of Homer are therefore difficult to be lost, and those of Virgil difficult to be retained."

"Oft of one wide expanse had I been told That deep-browed Homer ruled as his demesne; Yet never did I breathe its pure serene Till I heard Chapman speak out loud and bold: Then felt I like some watcher of the skies When a new planet swims into his ken."

"Once the diction has been established it works of itself. Almost anything the poet wants to say, has only to be turned into this orthodox and ready-made diction and it becomes poetry. 'Whatever Miss T. eats turns into Miss T.'"

"In the Odyssey one may liken Homer to the setting sun, of which the grandeur remains without the intensity."

"I finished the Iliad to-day... I never admired the old fellow so much, or was so strongly moved by him. What a privilege genius like his enjoys! I could not tear myself away. I read the last five books at a stretch during my walk to-day, and was at last forced to turn into a by-path, lest the parties of walkers should see me blubbering for imaginary beings, the creations of a ballad-maker who has been dead two thousand seven hundred years. What is the power and glory of Caesar and Alexander to that?"

"No international enterprise as yet has taken the initiative in collecting the hundred most dangerous books ever written. No doubt some time this collection will be made. When it is done, I suggest that Homer's Iliad and Tacitus' Germania should be given high priority among these hundred dangerous books. This is no reflection on Homer and Tacitus. Tacitus was a gentleman and, for all that I know, Homer was a gentleman too. But who will deny that the Iliad and the Germania raise most unholy passions in the human mind? ... [I]f I am going to speak about causes of war in ancient historiography I cannot pass over all the nefarious consequences of that great epic model – the Iliad. Not only did the Iliad create the model of all those Achilleses and Agamemmnons who have troubled the world ever since, but all the bad historians have learnt from Homer to attribute silly causes to earnest wars."

"I should never overlook that it is from Homer, his guide and his teacher, that Virgil derives his skill, nor that one single incident in the Iliad supplied the bulk of the material for that great and divine Aeneid. But that is not the way I do my sums. I marshal other qualities, ones which make that great Homer amazing to me, as though he were above our human condition. And in truth I am often struck with wonder that he, who by his authority created so many gods and made them honoured in this world, has not himself been deified. Poor and blind, living as he did before learning had been codified into rules and definite precepts, he had mastered it all so well that those who have subsequently undertaken to establish forms of government, to conduct wars or to write on religion and on philosophy — no matter what School they belong to — or about the arts and crafts, have accepted him as their master, most perfect in all things, and taken his books as a seed-bed for every kind of knowledge."

"It was against the order of Nature for Homer to have brought forth the most excellent work there can ever be. In Nature's order things are imperfect at birth: they grow up, and become stronger as they grow. He made the childhood of poetry and of several other arts to be adult, complete and mature. That is why, following that beautiful testimony to him which Antiquity has bequeathed to us, he can be called "the first poet and the last": since before him there was none whom he could imitate: after him, none who could imitate him."

"Besides, what renown can be compared with his? Nothing lives like his fame and his works on the lips of men... Homer provides a noble farce in which over the centuries Kings, Republics and Emperors all play their parts and for which this great universe serves as the theatre."

"Poetry changes with every generation, but it does not improve or progress. It just changes its styles, trappings and some of its obsessions, but we can still enjoy Sappho and Homer; they are today's news as much as when they were written or recited."

"The first teacher and beginner of all these beauties of tragedy."

"You were born of no mortal mother, but of Calliope."

"But when to examine every part he came, Nature and Homer were, he found, the same."

"Our author's work is a wild paradise, where, if we cannot see all the beauties so distinctly as in an ordered garden, it is only because the number of them is infinitely greater. It is like a copious nursery, which contains the seeds and first productions of every kind, out of which those who followed him have but selected some particular plants, each according to his fancy, to cultivate and beautify. If some things are too luxuriant it is owing to the richness of the soil; and if others are not arrived to perfection or maturity, it is only because they are overrun and oppressed by those of a stronger nature."

"We acknowledge him the father of poetical diction, the first who taught that language of the gods to men."

"Each time I put down The Iliad, after reading it again in some new translation, or after reading once more the somber splendor of the Greek, I am convinced, as one is convinced by the experiences of a lifetime, that somehow, in a way beyond the visions of artistry, I have been face to face with the meaning of existence. Other works of literature give this insight, but none so powerfully, so uncontaminated by evasion or subterfuge. If the art of poetry is a symbolic criticism of virtue, The Iliad is the paramount classic of that art. Its purity, simplicity, definition, and impact reveal life and expose it to irrevocable judgement, with finality and at the beginning of European literature."

"The first notable product of the Hellenic civilization<!-- was Homer. Everything about Homer is conjectural, but the best opinion seems to be that he was a series of poets rather than an individual. Probably the Iliad and the Odyssey between them took about two hundred years to complete, some say from 750 to 550 B.C., while others hold that "Homer" was nearly complete at the end of the eighth century."

"The Homeric poems, like the courtly romances of the later Middle Ages, represent the point of view of a civilized aristocracy, which ignores as plebeian various superstitions that are still rampant among the populace. In much later times, many of these superstitions rose again to the light of day. Guided by anthropology, modern writers have come to the conclusion that Homer, so far from being primitive, was an expurgator, a kind of eighteenth-century rationalizer of ancient myths, holding up an upper-class ideal of urbane enlightenment. The Olympian gods, who represent religion in Homer, were not the only objects of worship among the Greeks, either in his time or later. There were other darker and more savage elements in popular religion, which were kept at bay by the Greek intellect at its best, but lay in wait to pounce in moments of weakness or terror. In the time of decadence beliefs which Homer had discarded proved to have persisted, half buried, throughout the classical period. This fact explains many things that would otherwise seem inconsistent and surprising-->."

"Read Homer once, and you can read no more, For all things else will seem so dull and poor, You'l wish 't unread; but oft upon him look, And you will hardly need another book."

"The poems of Homer and his contemporaries were the delight of infant Greece; they were the elements of that social system which is the column upon which all succeeding civilization has reposed. Homer embodied the ideal perfection of his age in human character; nor can we doubt that those who read his verses were awakened to an ambition of becoming like to Achilles, Hector, and Ulysses: the truth and beauty of friendship, patriotism, and persevering devotion to an object, were unveiled to the depths in these immortal creations."

"The first of the tragedians."

"But how did you come to have this skill about Homer only, and not about Hesiod or the other poets? Does not Homer speak of the same themes which all other poets handle? Is not war his great argument? and does he not speak of human society and of intercourse of men, good and bad, skilled and unskilled, and of the gods conversing with one another and with mankind, and about what happens in heaven and in the world below, and the generations of gods and heroes? Are not these the themes of which Homer sings?"

"As learned commentators view In Homer more than Homer knew."

"Are vitality and creativity somehow connected with bellicosity? Could there have been Greek civilisation without this restless obsession with fighting? The place of Homer, especially the Iliad, in Greek culture accentuates these disturbing questions. While the cliché that Homer was "the Bible of the Greeks" is misleading – his was in no way a sacred or unquestionable text – he was central to their basic education, and at least as familiar as Shakespeare is to us, if not more so."

"Greek tragedy could never have flowered without Homer as its pioneer."

"Facilius esse Herculi clavam quam Homero versum subripere."

"Notwithstanding the veneration due and paid to Homer, it is very strange, yet true, that among the most learned, and the greatest admirers of antiquity, there is scarce one to be found who ever read the Iliad with that eagerness and rapture which a woman feels when she reads the Novel of Zaïda... The common part of mankind is awed with the fame of Homer, rather than struck with his beauties."

"His gods are perhaps at once absurd and entertaining."

"It was Homer who gave laws to the artist; it was Homer who inspired the poet."

"The Iliad, trans. Robert Fagles (Penguin, 1991),"

"The Iliad of Homer, trans. Richmond Lattimore (University of Chicago Press, 1951)"

"The Iliad of Homer, trans. Samuel Butler (1898)"

"The Iliad of Homer, trans. Andrew Lang, Walter Leaf and Ernest Myers (1883)"

"The Iliad of Homer, trans. Edward, Earl of Derby (1864)"

"The Iliad of Homer, trans. Alexander Pope (1720)"

"The Odyssey, trans. Emily Wilson (W. W. Norton & Company, 2017),"

"The Odyssey, trans. Robert Fagles (Penguin, 1997),"

"The Odyssey, trans. Robert Fitzgerald (Doubleday, 1961)"

"The Odyssey, trans. E. V. Rieu (Penguin Books, 1946)"

"The Odyssey, trans. Samuel Butler (1898)"

"The Odyssey, trans. George Herbert Palmer (1884)"

"The Odyssey of Homer, trans. Samuel Butcher and Andrew Lang (1879)"

"The Odyssey of Homer, trans. Philip Stanhope Worsley and John Conington (1865)"

"The Odyssey of Homer, trans. William Cowper (1791)"

"The Odyssey of Homer, trans. Alexander Pope (1725)"

"Mānavatā hī merā mandira maiṃ hūँ isakā eka pujārī ॥ haiṃ vikalāṃga maheśvara mere maiṃ hūँ inakā kṛpābhikhārī ॥"

"kiṃ dṛṣṭavyaṃ patitajagati vyāptadoṣe'pyasatye māyācārāvratatanubhṛtāṃ pāparājadvicāre । dṛṣṭavyo'sau cikuranikuraiḥ pūrṇavaktrāravindaḥ pūrṇānando dhṛtaśiśutanuḥ rāmacandro mukundaḥ ॥"

"mahāghoraśokāgninātapyamānaṃ patantaṃ nirāsārasaṃsārasindhau । anāthaṃ jaḍaṃ mohapāśena baddhaṃ prabho pāhi māṃ sevakakleśaharttaḥ ॥"

"mere giridhārī jī se kāhe larī । tuma taruṇī mero giridhara bālaka kāhe bhujā pakarī ॥ susuki susuki mero giridhara rovata tū musukāta kharī ॥ tū ahirina atisaya jhagarāū barabasa āya kharī ॥ giridhara kara gahi kahata jasodā āʼncara oṭa karī ॥"

"Paṭhyatāṃ bhṛṅgadūtaṃ ca bhṛṅgadūtaṃ pragīyatām । cintyatāṃ bhṛṅgadūtaṃ ca rāmabhaktairdivāniśam ॥"

"Masi kāgada chūyo nahīṃ kalama gahī nahiṃ hātha । bhṛṃgadūta mahaँ saba kahyo eka jānakīnātha ॥"

"rāmaprāṇapriye rāme rame rājīvalocane । rāhi rājñi ratiṃ ramyāṃ rāme rājani rāghave ॥"

"sa brahmacārī nijadharmacārī svakarmacārī ca na cābhicārī । cārī satāṃ cetasi nāticārī sa cāpacārī sa na cāpacārī ॥"

"vīkṣya tāṃ vīkṣaṇīyāmbujāsyaśriyaṃ svaśriyaṃ śrīśriyaṃ brahmavidyāśriyam । dhīdhiyaṃ hrīhriyaṃ bhūbhuvaṃ bhūbhuvaṃ rāghavaḥ prāha sallakṣaṇaṃ lakṣmaṇam ॥"

"dhanuḥsrugabhimedure bhṛgupakopavaiśvānare raṇāṅgaṇasucatvare subhaṭarāvavedasvare । śarāhutimanohare nṛpatikāṣṭhasañjāgare sahasrabhujamadhvare paśumivājuhodbhārgavaḥ ॥"

"lalāmamādhuryasudhābhirāmakaṃ lalāmamādhuryasudhābhirāmakam । lalāmamādhuryasudhābhirāmakaṃ lalāmamādhuryasudhābhirāmakam ॥"

"trijagadavana hataharijananidhuvana nijavanarucijitaśataśatavidhuvana । taruvaravibhavavinatasuravaravana jayati viratighana iva raghuvaravana ॥"

"madanamathana sukhasadana vidhuvadana- gaditavimalavaraviruda kalikadana । śamadamaniyamamahita munijanadhana lasasi vibudhamaṇiriva hariparijana ॥"

"aśaraṇaśaraṇa praṇatabhayadaraṇa dharaṇibharaharaṇa dharaṇitanayāvaraṇa janasukhakaraṇa taraṇikulabharaṇa kamalamṛducaraṇa dvijāṅganāsamuddharaṇa । tribhuvanabharaṇa danujakulamaraṇa niśitaśaraśaraṇa dalitadaśamukharaṇa bhṛgubhavacātakanavīnajaladhara rāma vihara manasi saha sītayā janābharaṇa ॥"

"kaḥ kau ke kekakekākaḥ kākakākākakaḥ kakaḥ । kākaḥ kākaḥ kakaḥ kākaḥ kukākaḥ kākakaḥ kukaḥ ॥"

"kākakāka kakākāka kukākāka kakāka ka । kukakākāka kākāka kaukākāka kukākaka ॥"

"lolālālīlalālola līlālālālalālala । lelelela lalālīla lāla lolīla lālala ॥"

"śaśāṅke kutaḥ śyāmatā jātā । pṛcchati jananīmatikutūhalādbālastribhuvanatrātā ॥ kṛṣṇamṛgastava śarabhayādvidhuṃ yāto naitanmātaḥ । kapaṭamṛgaṃ praṇihanmi nāparaṃ tasya vimohakhyātaḥ ॥ daśamukhabhayādbhuvo yātā yā vidhuṃ śyāmatā dṛṣṭā । kathaṃ rāhubhītoऽsau pāyānmahī mūḍhatāspṛṣṭā ॥ tvamatha vīkṣya candramasaṃ nijadayitānanarūpasamānam । śaśini gato śyāmaḥ kila dṛṣṭaḥ kartuṃ tadadharapānam ॥ nahi mātaḥ pīye tava stanaṃ śrutvā manujendrāṇī । sasmitamukhī vismitā jātā cakitā giridharavāṇī ॥"

"kausalyāsuprajā rāma pūrvā saṃdhyā pravartate । uttiṣṭha naraśārdūla karttavyaṃ daivamāhnikam ॥"

"uttiṣṭhottiṣṭha bho rāma uttiṣṭha rāghava prabho । uttiṣṭha jānakīnātha sarvalokaṃ sukhīkuru ॥"

"tahaँ basa basumati basu basumukhamukha nigadita nigama sukarama dharamadhura । durita damana dukha śamana sukha gamana parama kamana pada namana sakala sura ॥ bimala birati rati bhagati bharana bhala bharama harana hari haraṣa harama pura । giridhara raghubara gharani janama mahi tarani tanaya bhaya janaka janakapura ॥"

"Māghe kirāte nanu naiṣadhīye raghau kumāreऽpi ca ye viśeṣāḥ । tebhyoऽdhikāḥ jāgṛti rāmabhadrācāryodbhave bhārgavarāghavīye ॥"