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Odyssey Quotes

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Odyssey Quotes

“Throughout our emotional odyssey in the unembellished narrative of our life, we may sense many alluring voices that are enticing us into a beguiling, seamless story. Our inner monologue, however, might start raising consequential questions about the scintillation of that story, about our vulnerability during the tempting process and the danger of losing our real self. The question may be asked, whether the lure might enlighten, weaken or destroy our living. While our interior monologue mostly listens to the wisdom of our experience and the guidance of our memory, it may happen that it prefers not to listen. In that event, however, unreason and passion will be calling all the shots. ( “Woman in progress” )”

“We did not get on much further, for in another moment we were caught by a terrific squall from the West that snapped the forestays of the mast so that it fell aft, while all the ship’s gear tumbled about at the bottom of the vessel. The mast fell upon the head of the helmsman in the ship’s stern, so that the bones of his head were crushed to pieces, and he fell overboard as though he were diving, with no more life left in him. “Then Jove let fly with his thunderbolts, and the ship went round and round, and was filled with fire and brimstone as the lightning struck it. The men all fell into the sea; they were carried about in the water round the ship, looking like so many sea-gulls, but the god presently deprived them of all chance of getting home again.”

“Then we entered the Straits in great fear of mind, for on the one hand was Scylla, and on the other dread Charybdis kept sucking up the salt water. As she vomited it up, it was like the water in a cauldron when it is boiling over upon a great fire, and the spray reached the top of the rocks on either side. When she began to suck again, we could see the water all inside whirling round and round, and it made a deafening sound as it broke against the rocks. We could see the bottom of the whirlpool all black with sand and mud, and the men were at their wits ends for fear. While we were taken up with this, and were expecting each moment to be our last, Scylla pounced down suddenly upon us and snatched up my six best men. I was looking at once after both ship and men, and in a moment I saw their hands and feet ever so high above me, struggling in the air as Scylla was carrying them off, and I heard them call out my name in one last despairing cry. As a fisherman, seated, spear in hand, upon some jutting rock throws bait into the water to deceive the poor little fishes, and spears them with the ox’s horn with which his spear is shod, throwing them gasping on to the land as he catches them one by one—even so did Scylla land these panting creatures on her rock and munch them up at the mouth of her den, while they screamed and stretched out their hands to me in their mortal agony. This was the most sickening sight that I saw throughout all my voyages.”

“Inside it Scylla sits and yelps with a voice that you might take to be that of a young hound, but in truth she is a dreadful monster and no one—not even a god—could face her without being terror-struck. She has twelve mis-shapen feet, and six necks of the most prodigious length; and at the end of each neck she has a frightful head with three rows of teeth in each, all set very close together, so that they would crunch any one to death in a moment, and she sits deep within her shady cell thrusting out her heads and peering all round the rock, fishing for dolphins or dogfish or any larger monster that she can catch, of the thousands with which Amphitrite teems. No ship ever yet got past her without losing some men, for she shoots out all her heads at once, and carries off a man in each mouth.”

“Renunciation isn't a moral imperative or a form of self-denial. It's simply cooperation with the way things are: for moments do pass away, one after the other. Resisting this natural unfolding doesn't change it; resistance only makes it painful. So we renounce our resistance, our noncooperation, our stubborn refusal to enter life as it is. We renounce our fantasy of a beautiful past and an exciting future we can cherish and hold on to. Life just isn't like this. Life, time, is letting go, moment after moment. Life and time redeem themselves constantly, heal themselves constantly, only we don't know this, and much as we long to be healed and redeemed, we refuse to recognize this truth. This is why the sirens' songs are so attractive and so deadly. They propose a world of indulgence and wishful thinking, an unreal world that is seductive and destructive. (142)”

“As you set out on your journey to Ithaca, pray that your journey be a long one, filled with adventure, filled with discovery. Laestrygonians and Cyclopes, the angry Poseidon--do not fear them: you'll never find such things on your way unless your sight is set high, unless a rare excitement stirs your spirit and your body. The Laestrygonians and Cyclopes, the savage Poseidon--you won't meet them so long as you do not admit them to your soul, as long as your soul does not set them before you. Pray that your road is a long one. May there be many summer mornings when with what pleasure, with what joy, you enter harbors never seen before. May you stop at Phoenician stations of trade to buy fine things, mother of pearl and coral, amber and ebony, and voluptuous perfumes of every kind-- buy as many voluptuous perfumes as you can. And may you go to many Egyptian cities to learn and learn from those who know. Always keep Ithaca in your mind. You are destined to arrive there. But don't hurry your journey at all. Far better if it takes many years, and if you are old when you anchor at the island, rich with all you have gained on the way, not expecting that Ithaca will give you wealth. Ithaca has given you a beautiful journey. Without her you would never have set out. She has no more left to give you. And if you find her poor, Ithaca has not mocked you. As wise as you have become, so filled with experience, you will have understood what these Ithacas signify.”

“I think it's like that for people who don't remember 1969 first-hand. It's that sense of 'old hat.' Of 'been there, done that.' Space shuttles, space stations, communications satellites, GPS - they're all part of our everyday, taken-for-granted world in 2009, not part of an incredible odyssey.”

“I call this my church house trilogy. Souls' Chapel really was music from the Mississippi Delta, which to me is a church within itself. The Delta is the church of American Roots music. The Badlands is a cathedral without a top on it. And the Ryman has been called the Mother Church of Country Music, but to me it's the Mother Church of American Music. If you can think it up, it's been done there. In my mind, this is kind of a spiritual odyssey as much as anything else, and I had the settings of three churches to make it in.”

“The genius is not in how much Stanley Kubrick does in “2001: A Space Odyssey,'' but in how little. This is the work of an artist so sublimely confident that he doesn't include a single shot simply to keep our attention. He reduces each scene to its essence, and leaves it on screen long enough for us to contemplate it, to inhabit it in our imaginations. Alone among science-fiction movies, “2001'' is not concerned with thrilling us, but with inspiring our awe.”

“I view the major features of my own odyssey as a set of mostly fortunate contingencies. I was not destined by inherited mentality or family tradition to become a paleontologist. I can locate no tradition for scientific or intellectual careers anywhere on either side of my eastern European Jewish background. I view my serious and lifelong commitment to baseball in entirely the same manner: purely as a contingent circumstance of numerous, albeit not entirely capricious, accidents.”

“Sharona Muir has written a gripping personal memoir about her odyssey to rediscover and reclaim her father. Along the way she uncovers some hard truths about the heroic founders of Israel and the Beginnings of Israeli science. The Book of Telling keeps in all the fears and resentments and consolations and warmth of such a process-at once her own story and the tale of a nation.”

“The Bible is forbidding when you start to read it. The language is odd. The stories start and stop herkily-jerkily. The characters behave in inexplicable ways. It takes a little bit of time to get into the rhythm of the book. I found reading the first 15 chapters of Genesis very very difficult. Once I got past there, I loved reading, and found it very easy. When you get used to the Bible, it becomes thrilling to read (like any great book - I just had exactly the same experience with the Odyssey).”

“It is amazing that 2001: A Space Odyssey has not aged at all, except for a few minor technical gadgets. The main reason is, of course, the philosophical or spiritual element in this story. We know as little today about the secrets of Creation and evolution as we knew before, and it is not likely that we'll ever know much more. We'll have to be satisfied, as Kubrick was, respectfully admiring the potential for evolution within the mystery of the universe's creation.”

“I had ambitions to set out and find, like an odyssey or going home somewhere, set out to find this home that I'd left a while back and couldn't remember exactly where it was, but I was on my way there. And encountering what I encountered on the way was how I envisioned it all. I didn't really have any ambition at all. I was born very far from where I'm supposed to be, and so, I'm on my way home, you know?”

“I think "Avatar" is kind of a unique category where people are enjoying the unique theatrical experience even though they may have seen it on the small screen. They want to have that immersive, transportive experience. "2001: A Space Odyssey" played for three years at the Loews cinema in Toronto. I remember that. It just kept playing. People wanted to return to that experience. That may not be the best example because I think "2001" took 25 years to break even.”

“My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.”

“When I re-read the Odyssey, it felt like I was reading PD James or Minette Walters - you feel that you are sharing in something that hundreds of millions of people have read with love, and I think that this is worth holding onto. It is not a matter of canonical texts or elitism, which the universities are trying to make us wary about. It is about shared language and metaphor and experience and imagery and that is all good.”