Epic poets

1470 quotes found

"He argued that governments have no business meddling with the religious beliefs of their citizens; that how people worship and whether they worship should not be regulated by the legal machinery of the state. He also denied the right of his rulers to determine what could be printed and read. He claimed that marriage should be founded on mutual affection and intellectual compatibility and that, when those broke down, divorce should end the misery and permit both parties to attempt other relationships. He thought his rulers should be held to account for their actions and that the law was above them. He also contended the best kind of government was republican, an argument that has often prevailed, though not at present in his native land. Many of the civil rights on which modern democratic states are founded are adumbrated in his work. Revolutionaries in France appropriated Milton to their cause. Similarly, American statesmen such as Benjamin Franklin, Thomas Jefferson, and John Adams drew on their wide reading of Milton both to shape their republicanism and to address specific issues such as British taxation in America (for which Franklin drew a parallel with the Chaos of Paradise Lost), the case for ecclesiastical disestablishment in Virginia (for which Franklin drew on the anti-prelatical tracts) and the wickedness of British rulers (whose arrogance Adams compared to Satan's). In intellectual terms, Milton is one of the founding fathers of America."

- John Milton

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"He was called by his fellow students 'little Keats,' being at his full growth no more than five feet high.... In a room, he was always at the window, peering into space, so that the windowseat was spoken of by his comrades as Keats's place.... In the lecture room he seemed to sit apart and to be absorbed in something else, as if the subject suggested thoughts to him which were not practically connected with it. He was often in the subject and out of it, in a dreamy way. He never attached much consequence to his own studies in medicine, and indeed looked upon the medical career as the career by which to live in a workaday world, without being certain that he could keep up the strain of it. He nevertheless had a consciousness of his own powers, and even of his own greatness, though it might never be recognised.... Poetry was to his mind the zenith of all his aspirations: the only thing worthy the attention of superior minds: so he thought: all other pursuits were mean and tame. He had no idea of fame or greatness but as it was connected with the pursuits of poetry, or the attainment of poetical excellence.... He was gentlemanly in his manners and when he condescended to talk upon other subjects he was agreeable and intelligent. He was quick and apt at learning, when he chose to give his attention to any subject. He was a steady quiet and well behaved person, never inclined to pursuits of a low or vicious character."

- John Keats

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"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."

- Homer

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"If I am not mistaken, the distinguishing character of Lucretius (I mean of his soul and genius) is a certain kind of noble pride, and positive assertion of his opinions. He is every where confident of his own reason, and assuming an absolute command, not only over his vulgar reader, but even his patron Memmius. For he is always bidding him attend, as if he had the rod over him, and using a magisterial authority, while he instructs him. [...] He seems to disdain all manner of replies, and is so confident of his cause, that he is beforehand with his antagonists; urging for them whatever he imagined they could say, and leaving them, as he supposes, without an objection for the future; all this too, with so much scorn and indignation, as if he were assured of the triumph, before he entered into the lists. From this sublime and daring genius of his, it must of necessity come to pass, that his thoughts must be masculine, full of argumentation, and that sufficiently warm. From the same fiery temper proceeds the loftiness of his expressions, and the perpetual torrent of his verse, where the barrenness of his subject does not too much constrain the quickness of his fancy. For there is no doubt to be made, but that he could have been every where as poetical, as he is in his descriptions, and in the moral part of his philosophy, if he had not aimed more to instruct, in his system of nature, than to delight."

- Lucretius

0 likesPoets from RomePhilosophers from RomeEpic poetsAtheistsCritics of religion
"Then Mr. Honest called for his friends, and said unto them, I die, but shall make no will. As for my honesty, it shall go with me; let him that comes after be told of this. When the day that he was to be gone was come, he addressed himself to go over the river. Now the river at that time over-flowed its banks in some places; but Mr. Honest, in his lifetime, had spoken to one Good-conscience to meet him there, the which he also did, and lent him his hand, and so helped him over. The last words of Mr. Honest were, Grace reigns! So he left the world.After this it was noised abroad that Mr. Valiant-for-truth was taken with a summons by the same post as the other, and had this for a token that the summons was true, "That his pitcher was broken at the fountain." When he understood it, he called for his friends, and told them of it. Then said he, I am going to my Father’s; and though with great difficulty I have got hither, yet now I do not repent me of all the trouble I have been at to arrive where I am. My sword I give to him that shall succeed me in my pilgrimage, and my courage and skill to him that can get it. My marks and scars I carry with me, to be a witness for me that I have fought His battles who will now be my rewarder. When the day that he must go hence was come, many accompanied him to the river-side, into which as he went, he said, "Death, where is thy sting?" And as he went down deeper, he said, "Grave, where is thy victory?" So he passed over, and all the trumpets sounded for him on the other side."

- John Bunyan

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"It has been the fashion to dwell on the disadvantages of his education, and to regret the carelessness of nature which brought into existence a man of genius in a tinker's but at . Nature is less partial than she appears, and all situations in life have their compensations along with them. Circumstances I should say, qualified Bunyan perfectly well for the work which he had to do. If he had gone to school, as he said, with Aristotle and Plato; if he had been broken in at a university and been turned into a bishop; if he had been in any one of the learned professions, he might easily have lost, or might have never known, the secret of his powers. He was born to be the Poet-apostle of the English middle classes, imperfectly educated like himself; and, being one of themselves, he had the key of their thoughts and feelings in his own heart. Like nine out of ten of his countrymen, he came into the world with no fortune but his industry. He had to work with his hands for his bread, and to advance by the side of his neighbours along the road of common business. His knowledge was scanty, though of rare quality. He knew his Bible probably by heart. He had studied history in Foxe's Martyrs, but nowhere else that we can trace. The rest of his mental furniture was gathered at first hand from his conscience, his life, and his occupations. Thus, every idea which he received falling into a soil naturally fertile, sprouted up fresh, vigorous, and original."

- John Bunyan

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"This is unquestionably a fairly typical case of a now often described mental disorder. The peculiarities of this special case lie largely in the powers of the genius who here suffered from the malady. A man of sensitive and probably somewhat burdened nervous constitution... is beset in childhood with frequent nocturnal and even diurnal terrors of a well-known sort. In youth, after an early marriage, under the strain of a life of poverty and of many religious anxieties, he develops elementary insistent dreads of a conscientious sort, and later a collection of habits of questioning and of doubt which... pass the limits of the normal. His general physical condition meanwhile failing, in a fashion that... appears to be of some neurasthenic type, there now appears a highly systematized mass of [painful] insistent motor-speech functions... accompanied with still more of the same fears, doubts, and questions. After [an] extended period, after one remission, and also after a decided change in the... insistent elements, the malady... rapidly approaches a dramatic crisis, which leaves the sufferer... in [an extended, but somewhat benign] condition of secondary melancholic depression... a depression from which, owing to a deep change of... mental habits, and [improved] physical condition, he... emerges cured, although with... his greatest enemy—systematized insistent impulses. This entire morbid experience has lasted some four years. Henceforth, under a skillful self-imposed mental regimen, this man, although always a prey to elementary insistent temptations and to fits of deep depression of mood, has no return of his more systematized disorders, and endures heavy burdens of work and of fortune with excellent success. Such is the psychological aspect of a story whose human and spiritual interest is and remains of the very highest."

- John Bunyan

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"Homer excels in Genius, Virgil in Judgment. Homer as conscious of his great Riches and Fullness entertains the Reader with great Splendor and Magnificent Profusion. Virgil's Dishes are well chosen, and tho not Rich and Numerous, yet serv'd up in great Order and Decency. Homer's Imagination is Strong, Vast and Boundless, an unexhausted Treasure of all kinds of Images; which made his Admirers and Commentators in all Ages affirm, that all sorts of Learning were to be found in his Poems. Virgil's Imagination is not so Capacious, tho' his Ideas are Clear, Noble, and of great Conformity to their Objects. Homer has more of the Poetical Inspiration. His Fire burns with extraordinary Heat and Vehemence, and often breaks out in Flashes, which Surprise, Dazle and Astonish the Reader: Virgil's is a clearer and a chaster Flame, which pleases and delights, but never blazes in that extraordinary and surprising manner. Methinks there is the same Difference between these two great Poets, as there is between their Heros. Homer's Hero, Achilles, is Vehement, Raging and Impetuous. He is always on Fire, and transported with an immoderate and resistless Fury, performs every where Miraculous Atchievements, and like a rapid Torrent overturns all things in his way. Æneas, the Hero of the Latine Poet, is a calm, Sedate Warriour. He do's not want Courage, neither has he any to spare: and the Poet might have allowed him a little more Fire, without overheating him. As for Invention, 'tis evident the Greek Poet has mightily the advantage. Nothing is more Rich and Fertile than Homer's Fancy. He is Full, Abundant, and Diffusive above all others. Virgil on the other hand is rather dry, than fruitful. 'Tis plain the Latin Poet in all his famous Æneis, has very little, if any Design of his own ..."

- Richard Blackmore

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"The Inclinations of Men, in this their degenerate State, carry them with great Force to those voluptuous Objects, that please their Appetites and gratify their Senses; and which not only by their early Acquaintance and Familiarity, but as they are adapted to the prevailing Instincts of Nature, are more esteem'd and pursu'd than all other Satisfactions. As those inferior Enjoyments, that only affect the Organs of the Body are chiefly coveted, so next to these, that light and facetious Qualification of the Mind, that diverts the Hearers and is proper to produce Mirth and Alacrity, has, in all Ages, by the greatest Part of Mankind, been admir'd and applauded. No Productions of Human Understanding are receiv'd with such a general Pleasure and Approbation, as those that abound with Wit and Humour, on which the People set a greater Value, than on the wisest and most instructive Discourses. Hence a pleasant Man is always caress'd above a wise one, and Ridicule and Satyr, that entertain the Laughers, often put solid Reason and useful Science out of Countenance. The wanton Temper of the Nation has been gratify'd so long with the high Seasonings of Wit and Raillery in Writing and Conversation, that now almost all Things that are not accommodated to their Relish by a strong Infusion of those Ingredients, are rejected as the heavy and insipid Performances of Men of a plain Understanding and meer Masters of Sense."

- Richard Blackmore

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"No reasonable judgment can rank Lucan among the world's great epic poets. He does not tell his story well: the successive episodes are neither skilfully connected nor well proportioned. His frequent digressions are often irrelevant and much too long. His geographical descriptions are obscure and wearisome. His account of military operations is hard to follow: he is concise where detail is needed and dwells at length on trivial or irrelevant matters. To him the narrative is of secondary importance: his interest lies elsewhere; the words said matter more in his view than the things done. His power and force are undeniable; but he lacks the chief gifts that a great epic poet must possess. He ventured on one innovation which seemed bold to his contemporaries. He discarded all that supernatural machinery which Virgil had taken over from Homer. The gods play no part in the action; Venus never comes down from Olympus to protect Caesar, her descendant. The later epic poets did not follow Lucan's example in this matter; but there is no doubt that he was right. He was dealing with Roman history and with fairly recent events; and the introduction of the gods as actors must have been grotesque. [...] The truth is, that Lucan is not a poet in the sense in which Lucretius and Virgil are poets; he is read, not for any poetical quality but for his rhetorical invective and his pungent epigrams. His diction and rhythm are monotonous: he makes no attempt to imitate the elaborate harmonies of Virgil. It appears that his purpose is less to charm his readers than to startle them and make their flesh creep; and with this object he has constant recourse to extravagant exaggeration or repulsive detail. Whether he would have written better if he had lived longer we cannot tell; but, for all his faults, he won a high reputation among his own countrymen; and Statius and Martial, writing long after his death, do not scruple to name him as the writer of Latin epic poetry who comes nearest to Virgil."

- Lucan

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"The greatest poet of the sixteenth century, as of all others in Portuguese poetry, is he who sang of"the renowned men, Who, from the western Lusitanian shore, Sailing through seas man never sailed before, Passed beyond Taprobane,"—Luis de Camoens, author of the national epic, "Os Lusiadas," who lived in poverty and wretchedness, died in the Lisbon hospital, and, after death, was surnamed the Great,—a title never given before, save to popes and emperors. The life of no poet is so full of vicissitude and romantic adventure as that of Camoens. In youth, he was banished from Lisbon on account of a love affair with Catharina de Attayda, a dama do paço, or lady of honour at court; he served against the Moors as a volunteer on board the fleet in the Mediterranean, and lost his right eye by a gun-shot wound in a battle off Ceuta; he returned to Lisbon, proud and poor, but found no favour at court, and no means of a livelihood in the city; he abandoned his native land for India, indignantly exclaiming with Scipio, "Ingrata patria, non possidebis ossa mea!" Three ships of the squadron were lost in a storm, he reached Goa safely in the fourth; he fought under the king of Cochin against the king of Pimenta; he fought against the Arabian corsairs in the Red Sea;he was banished from Goa to the island of Macao, where he became administrator of the effects of deceased persons, and where he wrote the greater part of the "Lusiad"; he was shipwrecked on the coast of Camboya, saving only his life and his poem, the manuscript of which he brought ashore saturated with sea-water; he was accused of malversation in office, and thrown into prison at Goa; after an absence of sixteen years, he returned in abject poverty to Lisbon, then ravaged by the plague; he lived a few years on a wretched pension granted him by King Sebastian when the "Lusiad" was published, and on the alms which a slave he had brought with him from India collected at night in the streets of Lisbon; and finally died in the hospital, exclaiming, "Who could believe that on so small a stage as that of one poor bed Fortune would choose to represent so great a tragedy?" Thus was completed the Iliad of his woes. Fifteen years afterward, a splendid monument was erected to his memory; so that, as has been said or another, "he asked for bread, and they gave him a stone.""

- Luís de Camões

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"[Statius] has as luxuriant an imagination as Lucan, but it is easy to see that he oftener checked it. You will find in his Thebaid innumerable beauties, but you will also see too many faults. You will see a fire and spirit equal to all that appeals in the Poets of the greatest name; but you will wish not only that it had been more limited, but that it had been better regulated: he has a great deal of natural dignity, but in carrying it too far he often spoils its lustre. His language is often elegant to a very great degree, and though not universally, yet in a very great part, is appropriated in a very happy manner. If there be one fault predominant above the others in the Thebaid, it is that he is too florid; but you will see that in this the fault was in the impetuosity of his fancy rather than in defect of judgment: his subject ran away with him, and he gave the reins to imagination. In his Sylvae we see him with all this false glare, natural, elegant, and easy. His Achilleid there is no pronouncing any thing upon, for it was never retouched. You will find in many parts of his Thebaid a great deal of the true sublime: in others he carries it into rant and bombast. In the Achilleid there is more of this in proportion than in the Thebaid; but we are not from thence to conclude that he grew worse in this respect as he continued his application: had he lived to finish, he would also have corrected that poem."

- Statius

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"Think not, ye knaves, whom meanness styles the Great, Drones of the Church and harpies of the State, — Ye, whose curst sires, for blood and plunder fam'd, Sultans or kings or czars or emp'rors nam'd, Taught the deluded world their claims to own, And raise the crested reptiles to a throne, — Ye, who pretend to your dark host was given The lamp of life, the mystic keys of heaven; Whose impious arts with magic spells began When shades of ign'rance veil'd the race of man; Who change, from age to age, the sly deceit As Science beams, and Virtue learns the cheat; Tyrants of double powers, the soul that blind, To rob, to scourge, and brutalize mankind, Think not I come to croak with omen'd yell The dire damnations of your future hell, To bend a bigot or reform a knave, By op'ning all the scenes beyond the grave. I know your crusted souls: while one defies In sceptic scorn the vengeance of the skies, The other boasts, — “I ken thee, Power divine, “But fear thee not; th' avenging bolt is mine." No! 'tis the present world that prompts the song, The world we see, the world that feels the wrong, The world of men, whose arguments ye know, Of men, long curb'd to servitude and wo, Men, rous'd from sloth, by indignation stung, Their strong hands loos'd, and found their fearless tongue; Whose voice of fire, whose deep-descending steel Shall speak to souls, and teach dull nerves to feel."

- Joel Barlow

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"Rishi Valmiki taught us that in order to make progress in society, you have to take along Shabari with you; if you want your society to progress, you have to ensure that even vanars stand by you. If you want to move ahead, you have to embrace Kevat. ...We have come together at this place to express our commitment to follow his message.... Rishi Valmiki laid central focus on awakening the power of truth in order to destroy evil. He did not desire or envisage the slaying of demonic forces merely through the force of war. He has presented a whole vision of a well-organised society in order to defeat asuri (demonic) powers. Prabhu Ramchandra was competent to handle his adversary [Ravan] by himself. But Rishi Valmiki inspired him to mobilise and carry along the power of the entire range of vanjeevan (forest life) including vanars (monkeys), to ignite divine energy in them for the purpose of destroying subversive forces in society that appear in the form of asuras (demons). This social mobilisation of the good included not just Ravan’s own brother and son, but his whole family. Rishi Valmiki has taught us to live by energising and bringing together positive energies of society in order to destroy asuri shakti. He taught us that in order to make progress in society, you have to take along Shabari with you; if you want your society to progress, you have to ensure that even vanars stand by you. If you want to move ahead, you have to embrace Kevat . Rishi Valmiki gave all these messages. We have come together at this place to express our commitment to follow his message."

- Valmiki

0 likesEpic poetsHindu mythologyPoets from India
"Πέτρας μὲν πάμπρωτον, ἀφορμηθέντες ἐμεῖο, Κυανέας ὄψεσθε δύω ἁλὸς ἐν ξυνοχῇσιν, τάων οὔτινά φημι διαμπερὲς ἐξαλέασθαι. οὐ γάρ τε ῥίζῃσιν ἐρήρεινται νεάτῃσιν, ἀλλὰ θαμὰ ξυνίασιν ἐναντίαι ἀλλήλῃσιν εἰς ἕν, ὕπερθε δὲ πολλὸν ἁλὸς κορθύεται ὕδωρ βρασσόμενον· στρηνὲς δὲ περὶ στυφελῇ βρέμει ἀκτῇ. τῶ νῦν ἡμετέρῃσι παραιφασίῃσι πίθεσθε, εἰ ἐτεὸν πυκινῷ τε νόῳ μακάρων τ᾽ ἀλέγοντες πείρετε· μηδ᾽ αὔτως αὐτάγρετον οἶτον ὄλησθε ἀφραδέως, ἢ θύνετ᾽ ἐπισπόμενοι νεότητι. οἰωνῷ δὴ πρόσθε πελειάδι πειρήσασθαι νηὸς ἄπο προμεθέντες ἐφιέμεν. ἢν δὲ δι᾽ αὐτῶν πετράων πόντονδε σόη πτερύγεσσι δίηται, μηκέτι δὴν μηδ᾽ αὐτοὶ ἐρητύεσθε κελεύθου, ἀλλ᾽ εὖ καρτύναντες ἑαῖς ἐνὶ χερσὶν ἐρετμὰ τέμνεθ᾽ ἁλὸς στεινωπόν· ἐπεὶ φάος οὔ νύ τι τόσσον ἔσσετ᾽ ἐν εὐχωλῇσιν, ὅσον τ᾽ ἐνὶ κάρτεϊ χειρῶν. τῶ καὶ τἆλλα μεθέντες ὀνήιστον πονέεσθαι θαρσαλέως· πρὶν δ᾽ οὔτι θεοὺς λίσσεσθαι ἐρύκω. εἰ δέ κεν ἀντικρὺ πταμένη μεσσηγὺς ὄληται, ἄψορροι στέλλεσθαι· ἐπεὶ πολὺ βέλτερον εἶξαι ἀθανάτοις. οὐ γάρ κε κακὸν μόρον ἐξαλέαισθε πετράων, οὐδ᾽ εἴ κε σιδηρείη πέλοι Ἀργώ."

- Apollonius of Rhodes

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"Δύσμορος· οὐ μὲν ἔολπα καταφθιμένοιό περ ἔμπης λωφήσειν ἀχέων· τότε δ᾽ ἂν κακὸν ἄμμι πέλοιτο, κεῖνος ὅτε ζωῆς ἀπαμείρεται. ἐρρέτω αἰδώς, ἐρρέτω ἀγλαΐη· ὁ δ᾽ ἐμῇ ἰότητι σαωθεὶς ἀσκηθής, ἵνα οἱ θυμῷ φίλον, ἔνθα νέοιτο. αὐτὰρ ἐγὼν αὐτῆμαρ, ὅτ᾽ ἐξανύσειεν ἄεθλον, τεθναίην, ἢ λαιμὸν ἀναρτήσασα μελάθρῳ, ἢ καὶ πασσαμένη ῥαιστήρια φάρμακα θυμοῦ. ἀλλὰ καὶ ὧς φθιμένῃ μοι ἐπιλλίξουσιν ὀπίσσω κερτομίας· τηλοῦ δὲ πόλις περὶ πᾶσα βοήσει πότμον ἐμόν· καί κέν με διὰ στόματος φορέουσαι Κολχίδες ἄλλυδις ἄλλαι ἀεικέα μωμήσονται· ἥτις κηδομένη τόσον ἀνέρος ἀλλοδαποῖο κάτθανεν, ἥτις δῶμα καὶ οὓς ᾔσχυνε τοκῆας, μαργοσύνῃ εἴξασα. τί δ᾽ οὐκ ἐμὸν ἔσσεται αἶσχος; ᾤ μοι ἐμῆς ἄτης. ἦ τ᾽ ἂν πολὺ κέρδιον εἴη αὐτῇ ἐν νυκτὶ λιπεῖν βίον ἐν θαλάμοισιν πότμῳ ἀνωίστῳ, κάκ᾽ ἐλέγχεα πάντα φυγοῦσαν, πρὶν τάδε λωβήεντα καὶ οὐκ ὀνομαστὰ τελέσσαι."

- Apollonius of Rhodes

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"Ἦ, καὶ φωριαμὸν μετεκίαθεν, ᾗ ἔνι πολλὰ φάρμακά οἱ, τὰ μὲν ἐσθλά, τὰ δὲ ῥαιστήρι᾽, ἔκειτο. ἐνθεμένη δ᾽ ἐπὶ γούνατ᾽ ὀδύρετο. δεῦε δὲ κόλπους ἄλληκτον δακρύοισι, τὰ δ᾽ ἔρρεεν ἀσταγὲς αὔτως, αἴν᾽ ὀλοφυρομένης τὸν ἑὸν μόρον. ἵετο δ᾽ ἥγε φάρμακα λέξασθαι θυμοφθόρα, τόφρα πάσαιτο. ἤδη καὶ δεσμοὺς ἀνελύετο φωριαμοῖο, ἐξελέειν μεμαυῖα, δυσάμμορος. ἀλλά οἱ ἄφνω δεῖμ᾽ ὀλοὸν στυγεροῖο κατὰ φρένας ἦλθ᾽ Ἀίδαο. ἔσχετο δ᾽ ἀμφασίῃ δηρὸν χρόνον, ἀμφὶ δὲ πᾶσαι βιότοιο μεληδόνες ἰνδάλλοντο. μνήσατο μὲν τερπνῶν, ὅσ᾽ ἐνὶ ζωοῖσι πέλονται, μνήσαθ᾽ ὁμηλικίης περιγηθέος, οἷά τε κούρη· καί τέ οἱ ἠέλιος γλυκίων γένετ᾽ εἰσοράασθαι, ἢ πάρος, εἰ ἐτεόν γε νόῳ ἐπεμαίεθ᾽ ἕκαστα. καὶ τὴν μέν ῥα πάλιν σφετέρων ἀποκάτθετο γούνων, Ἥρης ἐννεσίῃσι μετάτροπος."

- Apollonius of Rhodes

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"Οὐδ᾽ ἄρα Μηδείης θυμὸς τράπετ᾽ ἄλλα νοῆσαι, μελπομένης περ ὅμως· πᾶσαι δέ οἱ, ἥντιν᾽ ἀθύροι μολπήν, οὐκ ἐπὶ δηρὸν ἐφήνδανεν ἑψιάασθαι. ἀλλὰ μεταλλήγεσκεν ἀμήχανος, οὐδέ ποτ᾽ ὄσσε ἀμφιπόλων μεθ᾽ ὅμιλον ἔχ᾽ ἀτρέμας· ἐς δὲ κελεύθους τηλόσε παπταίνεσκε, παρακλίνουσα παρειάς. ἦ θαμὰ δὴ στηθέων ἐάγη κέαρ, ὁππότε δοῦπον ἢ ποδὸς ἢ ἀνέμοιο παραθρέξαντα δοάσσαι. αὐτὰρ ὅγ᾽ οὐ μετὰ δηρὸν ἐελδομένῃ ἐφαάνθη ὑψόσ᾽ ἀναθρώσκων ἅ τε Σείριος Ὠκεανοῖο, ὃς δή τοι καλὸς μὲν ἀρίζηλός τ᾽ ἐσιδέσθαι ἀντέλλει, μήλοισι δ᾽ ἐν ἄσπετον ἧκεν ὀιζύν· ἄρα τῇ καλὸς μὲν ἐπήλυθεν εἰσοράασθαι Αἰσονίδης, κάματον δὲ δυσίμερον ὦρσε φαανθείς. δ᾽ ἄρα οἱ κραδίη στηθέων πέσεν, ὄμματα δ᾽ αὔτως ἤχλυσαν· θερμὸν δὲ παρηίδας εἷλεν ἔρευθος. γούνατα δ᾽ οὔτ᾽ ὀπίσω οὔτε προπάροιθεν ἀεῖραι ἔσθενεν, ἀλλ᾽ ὑπένερθε πάγη πόδας. αἱ δ᾽ ἄρα τείως ἀμφίπολοι μάλα πᾶσαι ἀπὸ σφείων ἐλίασθεν. τὼ δ᾽ ἄνεῳ καὶ ἄναυδοι ἐφέστασαν ἀλλήλοισιν, ἢ δρυσίν, ἢ μακρῇσιν ἐειδόμενοι ἐλάτῃσιν, τε παρᾶσσον ἕκηλοι ἐν οὔρεσιν ἐρρίζωνται, νηνεμίῃ· μετὰ δ᾽ αὖτις ὑπὸ ῥιπῆς ἀνέμοιο κινύμεναι ὁμάδησαν ἀπείριτον· ὧς ἄρα τώγε μέλλον ἅλις φθέγξασθαι ὑπὸ πνοιῇσιν Ἔρωτος."

- Apollonius of Rhodes

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