Analyzing Polyxena's Sacrifice

Does friendship require sacrifice? Does everyone have to give up the things they love to save others? People sacrifice things for their friends every day, but the sacrifice is different or unique every time. Whether they are small or large sacrifices, it never matters with friendships because every sacrifice changes something. When friends are in trouble, their friends do everything in their power to get them out of whatever trouble they’re in. Sometimes, when it comes to friends, people do what they have to do.

King Agamemnon has demanded Achilles give up his maiden to him after Apollo has forced him to give up his own prize (Homer 5). Achilles feels shamed that Agamemnon would demand such a thing but eventually does give up his prize (Homer 6). It makes him seem inferior. Because of this, he refuses to participate in battle because he is returning home (Homer 172). Refusing to fight is a shameful thing that brings honor to nobody. He can fight and seem inferior to Agamemnon or he can sit out and let his comrades die. There is no honor in this.

Homer’s Iliad and Thucydides’ History of the Peloponnesian War ask if death and philotēs can exist simultaneously. In the respective texts, that which Achilles and the Athenians encounter prove they will not exist in harmony for “human nature” is “incapable of controlling passion” and “the enemy of anything superior” (HPW 3.84). When Achilles does not receive his earned honor after battle and death’s toll from the war blurs the Athenians’ identity, their grief causes apathy. Achilles withdraws from his own people with a “rage, black and murderous” causing his own army to buckle which parallels the Athenians who at Pylos become “obsessed with the idea...to attack Spartans” (HPW 4.34). Before these cruel lapses in judgment, both desire

The famous scene in Homer’s Iliad when Achilles presents the mangled dead body of the Trojan Hector to his lover/cousin Patroclus is one of intense emotion: revenge, despair, and an angrily passionate loss of love. The French artist Jean-Joseph Taillasson presents the scene in the form of a painting (Achilles Displaying the Body of Hector at the Feet of Patroclus, 1769) in an interesting way. At this point in the historical timeline of art Rococo was giving way to a new Classical style. Caught between these two styles this painting manages to aptly and amply achieve both.

Both Clytemnestra and Antigone are driven by their passionate transgressions and desires due to conflicts within their families, and they are incapable of bearing the consequences they bring upon their nations and societies. There are times when personal sacrifices are necessary to the greater social progress, and the death of Iphigenia is an example in which case her death contributes to the victory of the Greek army. Agamemnon, the commander of the Greek army, decides to sacrifice the life of his own daughter in exchange of the wind that carries the Greek army to the land of Troy, which eventually leads to a glorious victory. However, Clytemnestra is overwhelmed by the death of her daughter, and she is not capable of perceiving the death of Iphigenia as a sacrifice to secure the Greeks’ victory with help from the Gods. Her husband Agamemnon, who lies to Iphigenia and sends her

For Greeks, gaining honor while alive that is important, but holding of a proper burial after death is also considered essential to them and their beloveds. In the Iliad, Homer places the emphasis on the retrieval of the body and the burial for both Patroclus and Hector, demonstrating the Greek perception that respect and fame continue after death, and therefore certify the struggle in life to achieve honor. Patroclus is like a brother to Achilles as they grow up together. While Patroclus is alive, he respects Achilles’ decision to remain out of the battle. After he dies, Achilles lays down his individual pride, which has insulted by Agamemnon earlier and returns back to the battle. Achilles successfully kills Hector and exacts his revenge by mutilating the body. Patroclus’ honor is shown in his elaborate ceremonies that Achilles holds for his passing and extends to the mourning shown. (Homer, Iliad 19.325-360, 23.245-280) On the other side, Priam has gone through many difficulties to have his son’s corpse back from Achilles. Hector’s honor also can be seemed from the paramount funeral and the

Achilles knew that the Achaians could not win the war without him. His alienation was the catalyst for the destruction awaiting the Achaians. He was aware of this, but, because of his pride, he did nothing to stop it. When Priam visited Achilles to redeem the body of his son Hektor, Achilles showed a more humane side of himself. “So [Priam] spoke, and stirred in [Achilles] a passion of grieving for his own father” (488; bk.24, ln.507). Priam appealed to Achilles’ human emotions by speaking of his father; he provoked sympathy in Achilles. Achilles had integrated himself with humanity once more and had begun to see life from a mortal point of

Polyphemus believes that he is in love with Galatea, yet does not think of her feelings, but rather assumes that he could make her much happier than Acis ever could. What Polyphemus fails to realize is that she really and truly loves Acis, not Polyphemus. When Polyphemus sees Galatea with Acis, he becomes angry. Galatea flees to the sea, and Acis is crushed with a huge rock. Again, the result is unfortunate; Acis is killed and Polyphemus doesn't get the girl. No one comes out victorious.

Achilles believed that he was not receiving his share of recognition for the work he was doing in the war effort. Achilles states, “You can take it that neither my Lord Agamemnon nor the rest of the Danaans are going to win me over, since it appears that a man gets no thanks for struggling with the enemy day in and day out” (Homer 7). Odysseus argued that Agamemnon would give him many rewards for his return to battle, but in Achilles’ reply he says that he doesn’t want anything from Agamemnon. He begins to come to the realization that he wants a long life rather than personal glory and wealth so he declines the offer.

Moreover, Sophocles’ insightful word choice is used to further explore the themes of free will and fate. While Jocasta is trying to convince Oedipus to go no further in his quest to learn his lineage, she tells him in her dialog, “You’re doomed --/may you never fathom who you are!”(4-5). Sophocles’ choice of the word “doomed” is again a word implying an inescapable fate. However, since Jocasta knows the prophecy has already been fulfilled the ill-fated future that she foreshadows is Oedipus’ tragic fall. Thus it is of significance that with her next line in the script in response to Oedipus calling to a servant to fetch the shepherd, Jocasta says to Oedipus, “Man of agony--/ that is the only name I have for you,/ that, no other-- ever, ever, ever!”(10-12). This is a turning point for Jocasta, not only has her speech become reduced to short clauses, she has also come to the conclusion that Oedipus has inflicted his physical and mental trauma on himself by his choices. As Jocasta exits the stage to commit suicide after

He then returns the body to Priam and feels guilty about his friend. “Feel no anger at me, Patroclus, if you learn--- even there in the House of Death--- I let his father have Prince Hector back” (Homer). Achilles wants his friend to forgive him and once again has succumbed to the intense emotions he feel that are out of his control. These emotions have Achilles act on rage and impulse.

Agamemnon’s rage, cowardliness and bad leadership also plays some parts of his refusal. Just like Helen, Bresies also had an effect on Achilles to judgement to refusing Agamemnon’s ransom. He was in love with her and Agamemnon dishonors him and takes her away and that makes Achilles angry. In the Iliad, beautiful women are the main reason to war and rage. Achilles has nothing to lose because “son of Atreus” (9.369) already took his honor, reputation and his Bresies. Even if Achilles “let[s] [his] heart-devouring anger go!” (9.316) for his companions that would never restore what he already lost. “Obviously, all religions fall far short of their own ideals.” (Ernest Becker, The Denial of

Euripides’ Iphigenia at Aulis provides important context regarding the sacrifice of Iphigenia and Clytemnestra’s past with Agamemnon. Clytemnestra is ashamed after talking to Achilles about the wedding between him and Iphigenia that he is unaware of. After discovering Agamemnon 's true intentions, she decides that she will no longer “let shame prevent” her from seeking Achilles’ help to stop Agamemnon because “whose interests should [she] consult before [her] child’s?” (Iphigenia at Aulis 24). Her concern for Iphigenia overpowers the indignity she feels because her child’s well being is greater than her own. Both women’s anger and desire for vengeance grow as their children are endangered or harmed as “vengeance makes grief bearable” (Medea 2.55). The playwrights show each as either a good or bad woman based on if their vengeful actions are ultimately in favor of their children or not.

I will bring her there the path is loneliest, / and hide her alive in a rocky cavern there. I’ll give just enough food as shall suffice… / Perhaps she will win from him escape from death / or at least in that last moment will recognize / her honoring of the dead is a labor lost (833-842)

Although Achilles was quite outraged at this, he gave a respectful response, stating that he would drop out of the war because Agamemnon had dishonored him. Later, the Trojans killed Patroclus, Achilles’ dearest and most trusted friend. Achilles was overcome with grief, but realized how stubborn and selfish he was being by dropping out of the war. He decided that he had to join the war once again to honor Patroclus. He told his mother, “Enough. Let bygones be bygones. Done is done. Despite my anguish I will beat it down, the fury mounting inside me, down by force. But now I’ll go and meet that murderer head-on, that Hector who destroyed the dearest life I know.” It is clear that he knew that in those ancient times, a real hero avenged the death of a dear friend, and would sacrifice his own life to save the dead body and give it a proper burial.