The Dissonances Of God And God In The Iliad

Throughout recorded history, man has sought explanations for the various phenomena that occur in every facet of nature, and when no obvious answer is forthcoming, still a theory is often proposed.  These explanatory theories, often taking the form of stories or chronicles, are usually linked to some sort of mysticism or divine intervention.  By ascribing that which he does not understand to the gods’ will at work, man avoids facing up to his own lack of knowledge in a given area, and also draws comfort from assuming that the universe does indeed function under the guidance of divine beings.  Thus the explanatory accounts that man crafts enhance his own security, quelling the fear of chaos that

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

Throughout the Iliad of Homer there can be seen many features of the Greek religion. The

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.

Achilles retaliates with even harsher words to Agamemnon once Athena disappears, calling him a coward who sits behind the scenes whilst his men fight and die for him and vows to not take any part in the war from this point forth, for he has been scorned by the wordings of Agamemnon.

Homer’s epic, The Iliad, highlights the influence and jurisdiction that beauty provides. The prizes and glory a man accumulates from war measure his power, while beauty measures a woman’s power. Since conquering a woman is the ultimate prize to a man, her beauty represents ultimate power. Though the beauty of mortal women has the power to turn men against each other, mortal women have no influence over this power and are instead objectified by men. Immortal women, however, have authority over their beauty and are able to control men with their power. Helen, on the other hand, though mortal, has the beauty of a goddess. Yet, Helen is bound by her fate to Paris, making her power obsolete. By presenting Helen’s hopeless power and supplying the reader with insight on her suffering through her thoughts, Helen is portrayed as a tragic hero.

Achilles questions himself, "Should he draw the long sharp sword slung at his hip, thrust through the ranks and kill Agamemnon now?--or check his rage and beat his fury down?" (108). Here, Hera has Athena intervene to keep Achilles from killing Agamemnon, which shows how the gods control Achilles' destiny. The argument between Achilles and Agamemnon clearly shows that the two men have different opinions about the power of the gods, what is holy or unholy, and what is proper treatment of other men. These differences are one source of Achilles' rage.

Upon initial consideration, comparing similarities in the Homeric epic The Iliad against the Bible’s first book Genesis would seem outlandish. The comparisons between the two tales may not be abundantly clear. The parables of the Bible serve as religious cornerstones for society, while Greek tragedies serve as the moral lessons on which our culture is predicated. Fate in both narratives is understood to be a governing body, with a prominence being placed on remaining on the course with that which has been outlined for the individual. The “swift footed” Achilles and the “simple tent-dweller” Jacob are dually fated to embark on a trajectory that does not align with their idiosyncratic needs: death for Achilles, social status for Jacob. The comparisons between the two characters seems to augment more contradictions than parallels, yet it is through these similarities that the characters are humanized and the malleability of destiny can be understood. Fate in The Iliad and Genesis reveals an intriguing dilemma: one can either change their destiny, like Jacob, or one could succumb to fate, like Achilles. These polar notions serve to accentuate the significance of becoming an active participant in your own narrative, even when fate is not on one’s side.

The line “Then Naomi, bereaved of her two sons as well as of her husband, got ready to return to her own country…” shows that once Naomi had no more family ties to Moab, and the famine in Judah had ended, she had motive to return to her own country, where she did have family. The importance of family ties, now in reference to ones created through marriage, can be seen when one daughter-in-law, Ruth, refuses to return to her own land and wishes to go with Naomi to Judah. At first, both daughters-in-law wanted to stay when Naomi spoke of returning to her home country. “They wept aloud and said, ‘No, we shall return you to your people.’” However, in the end Orpah returned home, remaining with her family of birth and Ruth stayed, remaining with her family of marriage. Another reference to the importance of family ties appears when the man Boaz, who is kin to Naomi, is speaking to Ruth, saying “You are proving yourself more devoted to the family than ever by not running after any young man, whether rich or poor.” Family can be assessed as being central to life in the Book of Ruth, as loyalty to family is mentioned several

In book one of the Iliad, a plague is placed on the Achaian army because Agamemnon wouldn’t release Chryseis, a maiden he’d taken as a prize for sacking a Trojan-allied town. Agamemnon refuses to give up Chryseis until Achilleus surrenders Briseis, another maiden, to him as consultation. This insults Achilleus’ pride and is the first event in the epic to fuel his burning rage (1.8-1.611). Due to his leader, Agamemnon, wounding his pride, he refuses to fight for the Achaians for the first 15 books. However, the tide turns in book 16 when Patroklos, Achilleus’ friend, is killed (16.816-16.821). His rage causes him to join the Achaians once more and develope aristeia, where a hero in battle has his finest moments. He nearly single-handedly slaughters the Trojan army by splitting their ranks and pursuing half of them into the river, where he recognizes Lykaon (21.1-21.35).

The truest of man’s goals is to create art. Art is a by-product of the gift of man over the animals, creativity. Truly, creativity is a replication of God in man and a very possible interpretation of the Genesis 1:27 phrase “in his own image,” along with others—the possession of an immortal soul or the ability to speak. And creativity’s ultimate end product is art. And art more often than not in the history of man has led man to pay homage to his creator. Three of the classic literary artistic works of mankind, Homer’s Iliad, Virgil’s Aeneid, and Dante’s Inferno, feature—if not focus—on the deity or deities of the respective authors and their relation to the characters

In today’s society, many humans define themselves by various means. How others perceive them, personality traits, profession, and tangible assets often define individuals. Others use intangible characteristics and their believe system in God or a god/gods. As we age and experience life, many people change the way they define themselves. Throughout the “Epic of Gilgamesh”, “Oedipus the King”, “The Odyssey”, and “Beowulf”, the readers notice how society defines each main character by their heroic characteristics, the relationship between the humans and the divine, and the differences of how each hero’s journey ends.

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.

Ruth was probably terrified; she could have been abused or turned away from Boaz’s field with no food for the night. Just like with Ruth, God sees exactly what we’re getting ourselves into so we can trust that His plan is good. Ruth trusted God to take care of her, and He used the obedience of Boaz to attend to her needs. King and Stager shed some light on Ruth’s dangerous lifestyle living as a widow, and explained the expectations for Boaz’s hospitality.

Q1.Describe the relationships between the gods and mortals in The Iliad .What are the Greek gods like?