The Battle Of Achilles : The Swift-Footed Achilles

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.

I believe that Homer uses the effectiveness of Ajax’s speech, specifically Ajax’s similarities to Achilles and the speech’s focus on the Greek value of timē (one’s honor or how one is perceived by others), to reveal the motivations and nature of Achilles. In book IX of the Iliad, Ajax, known primarily for his brute strength and martial prowess, delivers the speech Achilles finds most compelling. Conversely, Odysseus, although the most adept orator sent, is the least effective in convincing Achilles to rejoin the war. In my opinion, this is because while Odysseus uses a well-reasoned and debatably superior argument, Ajax, as a character, is similar to Achilles and is able to more effectively direct his argument towards Achilles’ defining characteristics. In this paper, I will argue that Homer characterizes Achilles as an individual who is guided primarily by his emotions and his goal of gaining timē and kleos (immortal glory). I will do this by analyzing the more successful speech of Ajax and comparing it to the ineffective speech given by Odysseus. First I will compare the personalities of both Ajax and Odysseus to Achilles, and how the effectiveness of Ajax’s speech further reveals Achilles’ personality and motivations. Secondly, I will discuss how Ajax’s speech effectively plays towards Achilles’ sense of timē, showing the value Achilles places on it. Finally I will discuss how the differences in the structure of the arguments used by Ajax and Odysseus illuminate Achilles’

The Greek forces won the Trojan War. The story of the war is a cornerstone of Greek legend, and pervaded Greek literature and culture. Though the evidence for the Trojan War as historical fact is scarce, it was a formative event in Greek cultural memory, producing some of the classical world’s most famous heroes and narratives. The War was won, Helen was retrieved from Paris, whose violation of ξενία was redressed, the heroes attained the κλέος that many of them fought for – and yet the positive outcomes of the Trojan War are difficult to grasp. For the victims of the Trojan War, the tragedy is obvious; the War ended in genocide and total cultural destruction. But such a war, burnt into legend, should have left the victors far better off; and yet, the Greek heroes only suffer because of it. They die tragic, dishonourable deaths; their households are left in ruin; their families are torn apart. From both modern and classical perspectives, the Trojan War is a tragedy, a “harrowing destruction of life” (Euripides, Andromache, 291). The victory is pyrrhic, the loss of life is horrific, the reparations non-existent.

The first book of the Iliad begins with the beginning of Achilles’ rage, the rage that will eventually cause his own people so much grief and is also the force for Homer’s version of the story of the Trojan War. Whereas the taking of Helen is the focus of the larger, traditional story, the feud between Agamemnon and the hero Achilles over a kidnapped girl defines the Iliad. Both feature a conflict over a woman, Helen and Chryses’ daughter, and a need for resolution as well as a breach of social contract: Paris steals the wife of Agamemnon, ruining the bonds of the guest relationship, while Agamemnon denies Chryse his right to ransom and invokes the wrath of the gods in the form of a plague. In both cases, however, it becomes clear that the conflict will not be resolved quickly, but will continue through the very heart of the story. By “singing of Achilles’ rage” from the first line, the narrator is clearly showing the audience that this Trojan war is not the war of Hector or Paris or Helen, but of the proud Achilles and his hero-sized enemy.

‘I entreat you, by your life, by your knees, by your parents, do not let the dogs feed on me by the ships of the Achaians… give my body to be taken home again, so that the Trojans and the wives of the Trojans may give me in death my rite of burning’ (22.338-343). This heart wrenching plea represents nearly the final words uttered by Hektor upon his death at the hands of Achilles. Hektor, who recently boasted of his martial prowess, vowing just moments before to do ‘some big thing first, that men to come shall know of it’ (22.305), is reduced to begging before his killer for the basic privilege of an honorable burial. In this moment of his famous Iliad, Homer offers a cynical reflection on human life and the social constructs mortals establish, especially the idea of the ‘heroic code’ that was so prominent during the Golden Age of Greece. Demonstrably, he implies throughout the work that since all humans are destined to die and memories have limited effect after death, the entire concept of the ‘heroic code’- and to a certain extent, conviction in worldly systems instead of personal beliefs- are pointless given the natural chaos of the world and man’s ultimate fate.

In The Iliad, Homer plays with the ideas that Zeus, the god and leader of all, ultimately may not be in charge. Countless times during the text, Zeus bends to the wills of prophecies, mortals, and even other gods. As the story develops, Zeus becomes less in charge and more of a puppet for mortals and gods who have contrivances for and against him. Through prophecy, Achilles, and Hera, this essay will glimpse at the idea of Zeus simply being a puppet on strings in the hands of war.

In ancient Greece, it was crucial that men proved their masculinity in order to uphold their worth and earn them a place in social establishments. An important aspect of human life is a man’s masculine identity and how it plays a role in society. However with this idea of masculinity came limitations that were not to be crossed. Ancient Greek epics, the Iliad and the Odyssey, both function to provide their own view on masculinity in society through the reverse sex similes. In the Iliad the crucial role of Achilles as a warrior and his association with maternal protection, as represented through it’s reverse sex maternal similes, ultimately proves problematic. This intrinsic part of man to fight on the battlefield to win timê and kleos is ultimately

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.

I was privy to many discussions and arguments that took place behind the backs of the soldiers’ leadership as to why they should do what they were being commanded to do by them. All too often soldiers begin to become complacent when they feel over taxed by their leadership or taken advantage of and become pathos driven when they cannot see the fruits of their labor coming to fruition during war or even peacekeeping missions; especially long deployments such as Iraq, Afghanistan or Kosovo. Achilles speech in “The Envoys Plead with Achilles” is pathos driven because it exemplifies aspects of emotionally driven complacency experienced in war due to selfish deceitful leadership, length of deployments, and a feeling

Barry Strauss, professor of classics at Cornell University attempts to redefine a one of history’s biggest love affairs, the Trojan War. Strauss explains how certain events and characters from Homers “The Odyssey” might have actually existed, but also uses modern discoveries from the Bronze Age to compare Homers account to those of Egypt, the Middle East, and etc. While Homer’s epic should not be read as a historical document which recounts the Trojan War hundred percent accurately, it can still be seen as document which embodies some historical truth. The novel as a whole explains the customs, economic standing, fighting styles and beliefs of the Greeks. Strauss’s writing style allows for the book to be accessible to both students and historians. He argues that just like Franz Ferdinand was the spark which ignited World War 1, Helen on the other hand was just a spark which escalated an existing tension between the Greeks and Trojans. Strauss’s personal input on the war itself gives the novel a different outlook on the Trojan War because, it allows for readers to see beyond the facts and make connections with ideas that Strauss had made with recent discoveries and Homers epic.

Homer’s Iliad is undoubtedly focused on its male characters: Achilles, primarily, but also Hector and Agamemnon. Nevertheless, it seems that the most crucial characters in the epic are female. Homer uses the characters of Thetis, Andromache, and Helen as a basis for comparison to the male characters. Homer wants his audience to see and understand the folly of his male characters in choosing war over peace, aggression over kindness, and honor over family. While the behavior of these characters clearly speaks for itself, the contrasting attitudes and behaviors of the female characters proffer an alternative; in comparison, the reader can hardly fail to concur with Homer’s message that war, aggression,

In the battle between Hector and Achilles, there was more on the line than winning the war. Until the end of the poem, it can be argued that both Achilles and Hector fit the role of an epic hero, but there can only be one. The battle represented who would ultimately be determined the epic hero. In Homer’s epic poem, The Iliad, Achilles is crafted into an epic hero throughout the poem by the illustration of the qualities of an epic hero: a great warrior, help from the supernatural, an epic flaw, and an epic journey.

After reading Homer’s text, we realize that while it contains fine poetic history it is in fact about the human condition and how it affects people, Achilles primarily. The reality for people in the world of The Iliad is that they live under many gods, and that they can not please all of them; indeed, the gods are at odds with each other and to support one means to upset another. While the ideal condition for the Greeks is to possess sophrosyne, in reality there are too many uncontrollable external pressures to do so. Just as the gods who influence men are not harmonious, therefore, we find this quality also in the explanation of the human condition for Greek cultures.

Here, Homer’s diction is composed of successive terms that possess feminine and domestic qualities. Compounded with Andromache’s innocence, the diction overturns the violent and gruesome atmosphere of previous battle scenes and brings in warm, domestic serenity. In later lines, however, the martial qualities are revived and directly contrast with this domesticity. Andromache runs out of the house like a “raving” woman with “pulsing heart,” just like a soldier whose brother or a close friend had died (22.460-461). When she comes up the wall and sees Achilles dragging Hektor around, she faints, and this scene even more resembles the death of a soldier, particularly Patroklos: