Destiny And Freewill : Fate And Destiny

In the Iliad is a very interesting epic with features two main central characters that are similar in some ways but totally different in other ways. In this epic you will be introduced to Hector and Achilles. Two men from each side in the great Trojan-Greek war. They were both heroes to their people despite their clearly different contrast in their personalities. In this paper I will highlight the life of both of these two leaders of the Greek and Trojans in this epic the Iliad. Also a little will be shed of how Homer portrays the characters deeper then an average thought. I will attempt to show the complexity of his thought process in forming the climax of these two characters coming to battle.

Fate and free will are often shown as contrasting subjects. While free will allows for a person to make their own conscious decisions, its devil’s advocate suggests that even individual choices made are the work of fate. This suggests that every path one takes down a fork road is already predetermined. In the epic poem, Beowulf, the main character, Beowulf, faces many decisions that could have unimaginable consequences in which he always refers to a greater power like fate. Because of these actions, the plot is completely reliant on the driving force known as fate and although our hero of the story battles with decisions, it is ultimately fate that makes the final call.

Over the centuries, the concept of fate is constantly being changed to adapt to our current way of living. In modern times the concept of fate is usually connected to the themes of love and romance. However the ancient Greeks recognized fate as an inescapable reality that shaped their lives. The famous playwright, Sophocles, adopts the idea of fate in his plays to control the character’s actions. In both plays, “Oedipus the King” and “Antigone”, the writer uses the concept of fate to show human’s inability to conquer the will of the gods.

It goes without question to state that various times in Homer’s epic poem, The Iliad, violence occurs. Violence is typically thought of as it relates to physical violence, war, a way to resolve a conflict, yet is open to various other interpretations. In addition, it is arguable that multiple types of violence occur within that classical piece of literature. The most obvious type being physical violence, but including, yet is not limited to, psychological, emotional, sexual, and linguistic violence. Emotional violence is one that pairs easily within the other types, yet is equally as important. These types of brutality all contribute to the major theme of fate versus free will. This epic poem allows for readers to question whether people are truly free or if everything that happens is due to fate. If there is such a thing as determinism, then it would be safe to say nothing that happens in someone’s life is a free choice. In Homer’s, The Iliad, multiple scenes of violence support the central theme of fate versus free will.

The influential feminine strain in the Odyssey also has important effects upon the whole flavor of the poem. Many other early epics are characterized by coldness, morbidity, and brutality, caused by the subjects with which they deal. The virtues, such as courage and martial prowess, which are seen in the Iliad are impressive, but they are undistinguished and limited, for they exist in a world of mas-culine competition and warfare. It is only in the Odyssey, among early Greek works, that such familiar ideas as love, family loyalty, and devotion, and other such important ethical attitudes, are both illustrated and advocated. It is the presence of these unconscious moral lessons that makes the Odyssey so unique in its genre and produces its humanitarian and optimistic outlook.

In The Iliad, Homer explores how external forces restrict mortals’ agencies. Even one of the most powerful characters, King Agamemnon, does not fully control his agency; he filters his actions due to the overbearing force of war, the fates gods create for humans, and the responsibilities that arise from his kingship.

The idea about free will and fate is still unsolved and debatable throughout the world. Some claim that humans have their own power to create their own destiny, however, others argue that they are inescapable victims of fate. The novel, Things Fall Apart, portrays the relationship between human’s determination to succeed and his or her own fate by describing Okonkwo as a tragic figure. While Okonkwo believes that he can overcome his fate through his hard work, Chinua Achebe reveals that fate is a powerful, inevitable event in the novel.

The Iliad, by Homer, is an epic poem set in the era of the Trojan War, accounting the battle logs during the time of conflict between Agamemnon and Achilles, the text’s tragic protagonist. The heroic outlook on life, in Iliadic terms, is exemplified through the construction of one’s honor through hard work. Being an aspect of the heroic outlook of life, this value is demonstrated through his contribution and dedication to the Trojan War, his experience with neglect from the deities, Achilles’ overall disdain towards Agamemnon, and, lastly, his longingness towards Briseis, his dear lover.

Regardless of the time frame, Virgil’s Aeneid and Homer’s epic the Iliad share both a copious amount of similarities and differences. For example, many common themes such as heroism, fate, and destiny are apparent in both works. Within the Aeneid and the Iliad, it is seen that the wars going on during that time were glorious that is why the role of gods were significant in leading both Aeneas and Achilles and influencing fate. In both texts, it is clear from the beginning that the role of the gods is to make Aeneas and Achilles fulfill their journey The Iliad focuses on the end of the Trojan War and the damaging power, while the Aeneid is focused during the aftermath of the war and underlies the foundation for the new civilization. This paper will address and argue the comparison of the role of gods and how each of the authors representation of the gods have influence on the lives of mortals.

Does a man have free will? Can he control his own fate, or is it influenced, or perhaps even preordained, by an immortal power? Time and time again this question has been asked and explored in literary pieces that involve an element of a supernatural being, a higher power that mortal man cannot compare to. Among those who incorporate this existential reflection into their own written world is Homer, an ancient Greek poet, creator of the Odyssey. Throughout his epic, Homer demonstrates the simultaneous action of both fate and responsibility and the precarious balance that exists between the two in dictating the road of Odysseus, with the gods neither claiming sovereignty nor letting man run his own course unobstructed. Often, the will of

The Iliad is an epic of death. It is a tale of conflict, batle, agony, and horific mutilation. Honor and glory are atained through warfare. The great shield of Achiles stands out in this context because it depicts the glories of an orderly, functioning, productive civilization. This depiction of life stands in stark contrast to the scenes of death that constitute a large portion of the narative. An examination of the shield of Achiles in Homer’s Iliad reveals many ideas in conflict: love and honor, the pleasures of life versus a heroic death, free wil and destiny. By viewing the shield as an element of contradistinction—that is to define it on the basis of contrast—one can se that the shield symbolicaly unifies the

In this essay, I will examine popular Greek ideas concerning fate and their relationship to characters in Homer's Odyssey.

When Teiresias asks in Antigone (line 1051), "What prize outweighs the priceless worth of prudence?" he strikes (as usual) to the heart of the matter in Sophocles' Theban Plays. Sophocles dramatizes the struggle between fate and free will, in one sense, but in another sense the drama might be better understood as the struggle between the will of the goods (which it is prudent to follow, according to Teiresias) and man's will (which is often imprudent). Sophocles' characters are moved by their own wills, of course (either in accordance or in conflict with the will of the gods). Oedipus in Oedipus the King is determined to pursue the truth in spite of the objections of Jocasta, the priest, and his own misgivings. In Oedipus at Colonus, Theseus "cannot rest" (line 1773) until he has served both Antigone and the late Oedipus (implying that conscience is his motivator awareness, in other words, of his duty towards them). In Antigone, Antigone acts in accordance to the will of the gods (but in disobedience to the will of Creon) and does so knowing the punishment that awaits her: "Go I, his prisoner, because I honored those things to which honor truly belongs" (lines 178-9). This paper will show how while fate is a powerful force in The Theban Plays, the characters themselves are still left to exercise their own free will (either with respect or disrespect to will of the gods). Thus, the main drama consists not in the

The journey, the hero, the triumph, and the defeat are all elements that some of literatures greatest works have encaptured, such as: the Ramayana, The Epic of Gilgamesh, and the Mahabharata. Each of these texts depicts a hero or protagonist that is unique to their culture and although each of these heroes embark on a different journey with different purposes and goals in mind, they all display a variety of features that people of then and now can relate to. It becomes transparent that each of the journeys these heroes undertake are a lot like that of the lives of people today.

In the tenth year of Trojan war we encounter a unique internal conflict in the Greek army, the dispute between mighty Achilleus,the bravest warrior in the Achaean army and Agamemnon,the commander-in-chief of the Greek army. The entire epic is born due to the anger of Achilleus: “Sing, goddess, the anger of Peleus’ son Achilleus and its devastation,” (1.1-2). We acknowledge that Achilleus has declined to fight in the war which has led the chaos in the army of Greek.