How Ethical Are The Gods In The Iliad? Essay

Homer incorporated themes reflective of polytheism, heroes, and society into his poems. Ancient Greek culture is incorporated into his themes by the Greek gods being key characters in his epics. Gods have no moral code or rules of conduct to justify their actions so they are always seen as just and right. This reflects the ancient Greeks view of higher power and that power upon man (Versényi 21). The gods are seen as all powerful except when fate is in play. The gods are seen as weak to the defining power of fate to the protagonist to demonstrate how death is inescapable (Versényi 28). A common theme seen through Homer’s use of polytheism is the lack of peace between each god and they all come together under a common cause, to help

In ancient Greek culture the gods were seen as taking a very active role in the development and course of human history.  The entire Olympian pantheon, as well as many other less important divinities, meddles in human affairs to no end.  The people of the many city-states that composed Greece firmly believed that every aberration from normalcy was due to an act of the gods.  Homer, the author of The Iliad, coined the prevalent religious beliefs of the time in his epic poems, showing the gods as temperamental and willful, meddlesome and dynamic.  Homer’s entire poem is replete with instances of divine intervention in mortal lives, and no single major occurrence comes to pass unless it is the will of one of the many Olympian gods.  Few major decisions are made without consulting the gods first, and the handful of instances in which one leader or another takes initiative almost always fails miserably.  Life, according to the Greeks, is almost entirely rooted in their religion, as there is a god or goddess governing every aspect of the universe, and also because the gods so actively involve themselves in the everyday lives of mortals.

Godly colossal Greek epic, “The Iliad” constituted by the poet named, Homer, articulate the chronicle of the Brobdingnagian Trojan War. It is swarming with the interventions of the gods enchanting their coveted mortals (humans) and altering the heterogeneous scenes of the Trojan War. In this poem, gods have an assortment of relationships with humans which include love, fornication, and mother or father relationships. Gods interact with mortals in human shapes and stimulate them. Also, gods cognize that every human is eventually destined to die and they anticipate humans to pray to them for every obstacle humans encounter. However, for humans gods are omnipotent, authoritative, dominant, and immortals, who they supplicate to if they have

At the beginning of the story, the gods are debating what to do with the Greeks after they pillaged Troy, but more specifically, violated Athena’s shrine. Athena asks for help and says to Poseidon, “I want to help the Trojans who were my enemies, and make the Greek army’s homecoming a bitter one.” (Euripides 63). To which Poseidon replies, “You’re so fickle. Your mind leaps here and there: now you hate, and now you love, and both in excess.” (Euripides 65). Even Poseidon admits to the “fickleness” of the goddess since her allies during the war were the Greeks. This lends itself to show that Helen could be telling the truth about the goddesses having an argument about the beauty of each other and Aphrodite forcing Helen to run away with Paris. Helen also helps her argument by pointing out that the fight was preordained by the gods based on the prophecy about Paris, and then blames Paris’s mother and father for letting Paris live, rather than slaying Paris and trying to stop the prophecy from coming true. Through the many effective arguments, Helen shows that she did not ask to be carried away by Paris and that she liked Menelaus. Menelaus seems very weak compared to Helen, especially since he seems to not be able to make up his mind whether to kill her or not. In the end, Menelaus seems to decide on letting her live, though he still tells

The Greeks in the Iliad believe in many gods. Each god has a specific “power” or “gift” that is

The relationship between gods and mortals in mythology has long been a complicated topic. The gods can be generous and supportive, and also devastating and destructive to any group of humans. Mortals must respect the powers above them that cannot be controlled. The gods rule over destiny, nature, and justice, and need to be recognized and worshipped for the powerful beings as they are. Regardless of one's actions, intentions, and thoughts, the gods in Greek myth have ultimate power and the final decision of justice over nature, mortals, and even each other.

If there’s one thing one can count on when it comes to Greek gods, it’s that they’re critically flawed. Anyone reading Homer’s The Iliad can see the Greek gods act just like humans, constantly bickering, deceiving and throwing fits. The only people who can’t see through this facade of glorious immortality are the Greeks themselves. Throughout Homer’s entire epic, the gods continuously help the mortals based upon their own motives, and yet, the humans still worship them, ask them for help and forgiveness and blessings. Any reader would throw up their hands, disgusted that the humans glorify these beings that possess all the character flaws that mortals do. Homer is very successful in portraying humanity throughout his text, both through the perspective of the gods, and the perspective of the humans. While readers are allowed insight to both worlds, the characters themselves only see one dimension, resulting in the unequal nature of the humans constantly working to please the gods, sometimes to no avail. The Iliad exposes the fatal character flaws of the gods to readers, while also maintaining the mortal Greek perspective that gods are perfect beings, looking out for the greater good of mankind.

The gods play an important part in Odysseus’ journey home, bringing him closer and farther from his homeland. They constantly intervene in the lives of the many characters in The Odyssey. Though Odysseus is a hero, the gods control his life. It is as if he were the main character in a video game and the gods are fighting over who controls his life. Personal responsibility is overshadowed by the gods’ eagerness to grab the controller.

Many authors have employed the religious beliefs of their cultures in literature. The deities contained in Homer’s Odyssey and in the Biblical book of Exodus reflect the nature of the gods in their respective societies. Upon examination of these two works, there are three major areas where the gods of the Greek epic seem to directly contrast the nature of the God of the Israelites: the way problems are solved, the prestige and status that separates the divine from the masses, and the extent of power among the immortal beings.

The stories told in the Iliad and Odyssey are based on stories handed down over several generations, for they preserve (as we have seen) memories of an already quiet far distant past. The two pomes show clear connection in their language and style, in the manner in which their incidents presented, and in the combination of agreement with level, which distinguish their creation.

His brother Hector and he were on a peace mission in Sparta on behalf of Troy visiting the king, Menelaus, when Paris ran off with Menelaus’ wife, Helen. This action divides the Gods who constantly meddle with the mortal’s lives. Naturally, Aphrodite is on the Trojans’ side, as was her lover and God of War, Ares, and Apollo. Although Zeus, King of Gods, tried to be neutral, he was pro-Trojan. Hera, Queen of Gods, and Athena help the Greeks because they were mad that Paris chose Aphrodite. Poseidon, God of the Sea and Zeus’ brother, also sided with the Greeks whenever Zeus was not looking. An example of this constant intrusiveness of the Gods in the Iliad was when King “Menelaus hurls his spear, lightly wounding Paris. Paris’ helmet strap becomes caught at his chin and Menelaus has nearly dragged him away before Aphrodite intervenes, breaking the strap. She then wraps Paris in a mist, sets him in his own perfumed bedchamber, and hurries to catch Helen” (Bloom 13). Of course, in the movie version, when Paris becomes wounded he crawls to Hector’s ankles. King Menelaus becomes angered and says Paris is not worthy of royalty nor his wife Helen. Hector is then forced to defend his little brother and kills Menelaus. The elimination of the Gods from Troy, although unsatisfactory, does simplify the movie compared to the complicated plot of the Iliad. Wolfgang Petersen may have had motivation to remove the Gods because it

At the same time, it reminds us that these myths do not really constitute the religion of the Greeks. These myths are more similar to proto-scientific stories that are meant to explain usual phenomena, such as thunderstorms or the setting of the sun. Some myths are pure amusement and are not meant to explain anything. On the whole, the later myths appear more religious, as Zeus, the primary god, begins to resemble the sort of omnipotent God--figure familiar to modern readers—in the Iliad, he is very human and moody, but by the Odyssey he is more wise and sympathetic. Zeus changes so much from the old philanderer he once was that he begins to look very much like the Judeo-Christian concept of God. These all concepts relate to the myths and if in today’s world one were to think of it as reality one would laugh on this.

The Iliad is based solely on the Gods and religion and takes place during the tenth year of war between the Greeks and the Trojans. There is great emphasis on fate and the will of the Gods and it stresses the importance of showing great respect to the Gods. To not thank, praise and glorify the Gods guarantees destruction and ill fate. There is also the importance of stating

The suspected start of the war- over the abduction of Helen, Queen of Sparta- was caused entirely by a godly conflict over who was the most beautiful- Hera, Athena, and Aphrodite. Paris, son of King Priam of Troy, was selected to judge. He chose Aphrodite, who in turn gave him Helen, who was her equivalent in beauty amongst humans. In both versions, Paris is portrayed as a wife stealing, thief in the night. His brother Hector and he were on a peace mission in Sparta on behalf of Troy visiting the king, Menelaus, when Paris ran off with Menelaus' wife, Helen. This action divides the Gods who constantly meddle with the mortal's lives. Naturally, Aphrodite is on the Trojans' side, as was her lover and God of War, Ares, and Apollo. Although Zeus, King of Gods, tried to be neutral, he was pro-Trojan. Hera, Queen of Gods, and Athena help the Greeks because they were mad that Paris chose Aphrodite. Poseidon, God of the Sea and Zeus' brother, also sided with the Greeks whenever Zeus was not looking. An example of this constant intrusiveness of the Gods in the Iliad was when King "Menelaus hurls his spear, lightly wounding Paris. Paris' helmet strap becomes caught at his chin and Menelaus has nearly dragged him away before Aphrodite intervenes, breaking the strap. She then wraps Paris in a mist, sets him in his own perfumed bedchamber, and hurries to catch Helen" (Bloom 13). Of

Many religions and cultures no matter how small or large have creation myths and legends that were deemed to be important to their livelihood. Mythology was a tool that was used to explain how the world came to be. It gave explanations for how the seasons change, where humans come from, why there are specific rituals for a certain culture, and structure to how societies were governed. In Classical Greek mythology patriarchy is a common theme that was used for how society was governed. Zeus became king of the gods and from the mythologies created Ancient Greece followed the ways by which the gods lived. The Greek goddesses didn’t obtain higher power unless they had to threaten another god or they were working with a male god. Patriarchy was used in mythology to promote the male domination of government and the mainstream governing forms of the Ancient Greek world. Examining the story of Hesiod's Theogony we find instances that there was a patriarchal structure.