Justice and Love in the Iliad

In almost all instances of war the cause has been related to greed, or the gaining of land and possessions. Greed is presented in the very first book of Homer’s “The Iliad.” It isn’t displayed by the cowards, but the “heroes” of the war such as Agamemnon, Achilles, and Pandarus. The entire cause of the Trojan War is the result of the greedy and cowardly behavior of Paris. There are many factors that had sparked the war, including the interference of the gods; however, the main factor to be blamed for the war is greed.

Hector has killed good Patroclus and many other friends. May such anger, which upsets the wisest, no longer affect the deathless gods and mortal men!” (145). All of these great qualities Achilles possesses both start two different behavior cycles that start at different times in the epic poem.

Nietzsche interprets Iliad as a demonstration of a single nature of “power” among the Greeks that leads to the brutal war. Simone Weil disagrees with Nietzsche and believes Iliad to be a representation of two forces, “might” and courtesy, which she calls “gravity” and “grace” (Simone Weil Handout, passage # 2, pg 2). Nietzsche considers only one perspective of the Iliad, the cruelty of “power,” in contrast, Weil examines both the good and the brutality shown in Homer’s epic. Weil thinks of Homer’s epic to be exhibiting the misery of the war, along with some sparks of “grace” (IC 48). Overall, Nietzsche thinks of Homer’s Iliad only to be a celebration of competition derived by the “will to power,” whereas Weil considers Iliad as not just a representation of the rule by “might,” but also showing moments of courtesy through the savagery of war (NR 355).

At the battle of Troy, Achilles chooses almost certain death in exchange for the honor of avenging Patroclus. As Socrates paraphrases, “when his mother said to him, as he was eager to slay Hector, ‘My son, if you avenge the death of your friend Patroclus and kill Hector, you yourself shall die; for straightway, after Hector, is death appointed unto you,” (The Apology, 28c). However, Socrates is relatively loose in his representation of Achilles. Homer’s Achilles is focused primarily on private affairs as seen when he only agrees to return to battle to avenge personal loss in the form of his “beloved” Patroclus (The Iliad, book 18, 120). Contrastingly, Socrates represents the Greek hero as being much more absorbed by the necessity of attaining honor and justice for both himself and his peers. Through this specific example, Socrates makes it apparent that, he, like Achilles before him, is both willing and able to die if that is what it takes to find truth. He will under no circumstances condemn any of his actions just to save his life.

Hector’s pride caused him to be clouded with negative thoughts in his quest for revenge as he brutally slaughtered the Trojans and excessively tortured Hector. Nevertheless, Priam’s sorrow causes Achilles to empathize since he could imagine what it would be like if his father had to go through a similar situation like Priam. This change of heart causes Achilles to forgo hatred in exchange for compassion. Although Achilles shows flaws in his character, his heroism even in the brink of death along with this transformative change as a person demonstrates the cultural expectations of strong leadership in terms of taking physical and emotional qualities into strong consideration.

In death’s atrocity, Achilles and the Athenians turn towards their self-interests in hopes to regain control and dignity. Achilles withdraws from the army in hopes they will recognize his worth, thus restoring honor to him. The Greeks “were stricken with unendurable grief” yet his “proud spirit” kept him from letting go of his anger. (Il. 9.4, 259). His inability to understand his mortality and resulting lack of philotēs “pitched countless souls of heroes into Hades’ dark” (Il. 1.3-4). Falling into fits of self-pity, Achilles is unable to recognize others’ sufferings, even of his own people. He complains to his mother that Agamemnon “has taken away [his] prize and dishonored” him and playing a lyre by the shore, away from the war displaying death’s reality (Il. 1.370). In his isolating mēnis, Achilles hardens into an apathetic death-like figure. Similarly, the Athenians begin to lack pity as their city turned towards “unprecedented lawlessness,… acts of self-indulgence,” and immorality during the plague (HPW 2.53). The Athenians even abandon their own people in fear of falling ill as well. Their civilization reveals it shallow-nature as they result to only considering present desires as honorable. In the face

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

Every character in a story is motivated by a feeling or action. In Homer’s Iliad, the themes of aidos (shame) and kleos (honor) are used to propel the story forward and to keep the reader’s attention. The actions of the characters are heavily influenced by shame and honor. Homer does a stupendous job of portraying the feelings of shame and honor to develop specific characters in the story.

Children taunting each other on the playground. A fast paced action adventure movie. A family crossing the street when a person of color walks by. They can be found everywhere within society, and yet rarely are recognized for what they truly are; scenes of violence. The children are using linguistic violence. The movie shows physical violence. The person of color endures societal violence. From the time a person is born to the time they die, they are subjected everyday to violence, even if it comes in forms that we do not immediately recognize as being violent in nature. It is possible that this complacency with violence exists because it can also be found in Western Cultures’ most treasured works, specifically those that are accredited for shaping the view of society as the world knows it. In Homer’s masterful work of The Iliad, the reader is confronted with all sorts of violence on many different occasion;, however, a few specific ones contribute more than the rest to the overall themes of the text.

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.

Priam invokes a pity in Achilles that insights the end of the gods plan for Achilles, which the gods construct. Apollo states to Priam, “You go in and clasp his knees, and beseech him in the name of his father and mother and his son, to touch his heart” (Homer 358). In this simple action, Achilles connects to Priam on an emotional level. This human connection allows Achilles to realize the blindness of his anger, so Hector was able to go home. As Achilles’ rage passes, Achilles’ fate becomes finalized. The finalization of Achilles; fate solely occurs due to the influential actions of the gods and their creation of an emotional ploy to make Achilles relate to Priam and give up his

Before his death the Trojan leader Hector exclaims, “Well let me die⎼but not without struggle, not without glory, no, in some great clash of arms that even men to come will hear of down the years,” (22.359-362). This proclamation reveals an important theme in Homer’s Iliad. Throughout the epic poem, the concept of honor and shame constantly reappears, from being the cause of the plot to personification as Greek and Trojan heroes to the dichotomy of honor and shame within the gods. Homer uses honor and shame as a major theme of the Iliad to show how important these attributes are to the human condition.

Achilles can be described as a Tragic Hero in many ways. He was brave and had great strength but, he was also prideful and lacked control with his emotions, and in all the label of a tragic hero fits him. A Tragic hero is “a literary character who makes an error of judgment or has a fatal flaw that, combined with fate and external forces, brings on a tragedy” (“Tragic Hero”). To many men Achilles was god-like, and immortal, the epitome of a hero to the Greeks, he was strong, brave in the face of war, and of noble birth because he was the son of a goddess. In the Iliad, Achilles, driven by anger seeks revenge on Hector for killing his “dearest comrade” (“The Heroic Age”), Patroclus, whom he claims to have valued more than his own life. He

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

x that turns anybody who is subjected to it/ into a thing,” (153). Weil perceives force as an active entity that is capable of profound, negative, influences on the lives it touches (153). For a hero, force replaces his rational sensibilities by an uncontrollable urge to slaughter his opponent in an animalistic fashion, an unavoidable outcome generated by war. Weil defines this uncontrollable type of force as “the force that kills,” marking the moment when a hero becomes a warrior (155). Simone Weil records The Iliad as a evil and vanity of war, but she fails to do justice to the complexity of Homer 's challenging vision. She turns a blind eye to poem 's commitment to heroism, a concept she assigns force as the poem 's "true hero." Weil overlooks the Homeric hero’s investment in the ethos of glory and the participation in the “noblest deeds of men,” which is present in The Iliad’s “true hero,” Hector.