the illiad essay

The Iliad by Homer – Poem: Story, Summary & Analysis

(Epic Poem, Greek, c. 750 BCE, 15,693 lines

Introduction | Synopsis | Analysis | Resources

Introduction – Who wrote the Iliad

“ The Iliad “  (Gr: “ Iliás “ ) is an epic poem by the ancient Greek poet Homer , which recounts some of the significant events of the final weeks of the Trojan War and the Greek siege of the city of Troy (which was also known as Ilion, Ilios or Ilium in ancient times). Written in the mid-8th Century BCE , “The Iliad” is usually considered to be the earliest work in the whole Western literary tradition, and one of the best known and loved stories of all time.

Through its portrayal of the Trojan War, the stirring scenes of bloody battle, the wrath of Achilles and the constant interventions of the gods, it explores themes of glory , wrath , homecoming and fate.  Moreover, the Homeric epic has provided subjects and stories for many other later Greek, Roman, and Renaissance writings.

Synopsis – Iliad Summary

The story covered in  “The Iliad” begins nearly ten years into the siege of Troy by the Greek forces, led by Agamemnon , King of Mycenae . The Greeks are quarrelling about whether or not to return Chryseis, a Trojan captive of King Agamemnon , to her father, Chryses, a priest of Apollo.   Agamemnon wins the argument and refuses to give her up and threatens to ransom the girl to her father. In turn, Chryses pleads Apollo to help him, so the offended god plagues the Greek camp with a pestilence.

Agamemnon was the son of King Atreus of Mycenae , the brother of Menelaus and the husband of Clytemnestra . He ruled as king of Mycenae (or of Argos in some versions), and he and Clytemnestra had four children: one son, Orestes , and three daughters, Iphigenia , Electra and Chrysothemis . He was the commander of the successful Greek forces in the Trojan War , which was mounted to recover the abducted Helen of Sparta , his brother’s wife, from Troy . When he returned home after the fall of Troy, with his concubine Cassandra , he was murdered by his wife Clytemnestra and her lover Aegisthus .

Achilles was the son of the nymph Thetis and Peleus , the king of the Myrmidons . Thetis tried to make him immortal by dipping him in the river Styx as a baby, although he was left vulnerable at the part of the body she held him by, his heel . He was a Greek hero of the Trojan War (as well as reputedly the most handsome of the heroes assembled against Troy ) and, despite his temporary withdrawal from the battle after he was dishonoured by Agamemnon , he was responsible for the important deaths of the Trojan warrior-hero Hector , Troilus and many others. He was eventually killed by Paris with an arrow to his vulnerable heel.

Odysseus ( Ulysses in Latin) was the son of Laërtes and Anticlea . He was the King of Ithaca , husband of Penelope and father of Telemachus , and was renowned for his cunning, guile and resourcefulness. Although he initially tried to avoid his duty, Odysseus was one of the main Greek leaders in the Trojan War , as well as one of the most trusted counsellors and advisers, and his Trojan Horse device was instrumental in the Greek victory. After the War, Odysseus spent ten years of wandering and adventures, including confrontations with the Lotus-Eaters , the Cyclops , Circe , the Sirens and Calypso . When he arrived back at Ithaca , he reunited with his son, Telemachus , and despatched the numerous suitors who were pestering Penelope , before re-establishing his rule in Ithaca.

Paris was a son of King Priam and Queen Hecuba of Troy . He was left exposed on Mount Ida as a baby, in the hopes of avoiding a propecy that he would bring about the downfall of Troy, but he was suckled by a she-bear and eventually grew up strong and hale. He was asked by Zeus to arbitrate the divine beauty contest between Hera , Aphrodite and Athena , choosing Aphrodite (who bribed him with the offer of the love of the most beautiful woman on Earth, Helen of Sparta ). When Paris stole Helen away from her husband, Menelaus , though, he set in motion the Greeks’ expedition to retrieve Helen and the ten-year Trojan War . Not a skilled warrior, Paris only avoided being killed during the War with Aphrodite ‘s assistance, but he was responsible for the death of the Greek hero Achilles . He was mortally wounded late on in the war by Philoctetes and, although his youthful lover from Mount Ida , the nymph Oenone , refused to heal him, she nevertheless threw herself on his funeral pyre.

Menelaus was the son of King Atreus of Mycenae and Aerope , and brother to Agamemnon . After Atreus’ brother Thyestes gained the throne and had Atreus murdered, Menelaus and Agamemnon fled into exile. Later, with the help of King Tyndareus of Sparta , they drove Thyestes away, and Agamemnon took the throne for himself, while Menalaus returned to Sparta to marry Tyndareus’ beautiful daughter, Helen . On Tyndareus’ death, Menelaus became king of Sparta and together Menelaus and Helen had a daughter, Hermione . When the Trojan prince Paris abducted Helen, Menelaus and Agamemnon led the Greek forces in the ten-year Trojan War to retrieve her. After the War, he returned with Helen to Sparta, unable to punish her for her unfaithfulness, but full of remorse over the human cost of the Trojan War .

Helen (known as Helen of Troy and, earlier, Helen of Sparta ) was the daughter of Leda and Zeus (in the same union with the Spartan king Tyndareus , which produced Clytemnestra and the twins Castor and Polydeuces ). She was considered the most beautiful woman in the world (described by Christopher Marlowe as having ‘the face that launched a thousand ships’), and became the wife of King Menelaus of Sparta. Her abduction by the Trojan prince Paris brought about the Trojan War to retrieve her. After the fall of Troy, she returned to Sparta with Menelaus, who found himself unable to punish her for her unfaithfulness .

Priam was the youngest son of the Trojan king Laomedon and Leucippe , and was the king of Troy during the period covered by the Trojan War . He was originally called Podarces and changed his name to Priam after narrowly avoiding being killed by Heracles . His first wife was Arisbe , whom Priam later divorced in favour of Hecuba , and he was the father of fifty sons and nineteen daughters by his various wives and concubines, including Hector , Paris , Helenus , Cassandra , Troilus , Polyxena and Polydorus . During the sack of Troy, Priam was brutally murdered by Achilles’ son, Neoptolemus (also known as Pyrrhus ).

Andromache was the daughter of King Eetion of Cilician Thebe . She married the Trojan hero Hector but, during the Trojan War , Hector was killed by Achilles , and Andromache’s young son Astyanax was thrown to his death from the city walls. Neoptolemus took Andromache as a concubine after the war and she became the mother of Molossus . When Neoptolemus died, Andromache married Hector’s brother Helenus and became queen of Epirus . She eventually went to live with Pergamus in Pergamum , where she died of old age.

Hector was the son of King Priam and Queen Hecuba of Troy . He married Andromache and fathered their ill-fated baby Astyanax , who was thrown to his death from the walls of Troy. He was the greatest fighter and the de facto leader of the Trojan forces in the Trojan War . He is portrayed as both peace-loving and brave , thoughtful as well as bold , a good son, husband and father, and one of the few participants in the war totally without darker motives. Hector’s duel against the Greek hero Ajax early in the battle was inconclusive, but he succeeded in killing, among many others, Achilles’ companion Patroclus (disguised as Achilles), thus bringing Achilles back into the fray. Hector was finally killed in battle by Achilles, who proceeded to mistreat his dead body, until his father Priam was able to retrieve it.

Ajax (or ‘ Ajax the Great ‘ to distinguish him from ‘ Ajax the Lesser ‘) was the son of Telamon and Periboea , and a descendent of Zeus . He was king of Salamis and played an important role the Trojan War , where he was the tallest and strongest of all the Greek warriors, and (with the exception of his cousin Achilles and perhaps Diomedes ) the most valuable on the battle field. After the fall of Troy , he lost a dispute with Odysseus over the magical armour of the dead Achilles , and was later sent mad by Athena . Shamed at the atrocities he had committed in his madness, he killed himself with his own sword.

At the warrior-hero Achilles   orders, the Greek soldiers force Agamemnon to return Chryseis in order to appease Apollo and end the pestilence. But, when Agamemnon eventually reluctantly agrees to give her back, he takes in her stead Briseis, Achilles ‘s own war-prize concubine. Feeling dishonoured, Achilles wrathfully withdraws both himself and his Myrmidon warriors from the Trojan War.

Testing the loyalty of the remaining Greeks, Agamemnon pretends to order them to abandon the war, but Odysseus encourages the Greeks to pursue the fight. During a brief truce in the hostilities between the Trojan and Greek troops, Paris and Menelaus meet in single combat over Helen , while she and old King Priam of Troy watch from the city walls. Despite the goddess Aphrodite’s intervention on behalf of the over-matched Paris , Menelaus wins. After the fight is over, the goddess Athena who favors the Greeks provokes the Trojans to break the truce, and another battle begins.

During the new fight, the Greek hero Diomedes , strengthened by Athena, obliterates the Trojans before him. However, in his blind arrogance and blood-lust, he strikes and injures Aphrodite. Meanwhile, in the Trojan castle, despite the misgivings of his wife, Andromache , the Trojan hero, Hector , son of King Priam , challenges the Greek warrior-hero Ajax to single combat, and is almost overcome in battle. Throughout everything, in the background, the various gods and goddesses (particularly Hera, Athena, Apollo and Poseidon) continue to argue among themselves and to manipulate and intervene in the war, despite Zeus’ specific orders to not do so.

Achilles steadfastly refuses to give in to pleas for help from Agamemnon , Odysseus , Ajax , Phoenix and Nestor, declining the offered honours and riches; even Agamemnon ‘s belated offer to return Briseis to him. In the meantime, Diomedes and Odysseus sneak into the Trojan camp and wreak havoc. But, with Achilles and his warriors out of battle, the tide appears to begin to turn in favour of the Trojans. Agamemnon is injured in the battle and, despite  Ajax ‘s efforts, Hector successfully breaches the fortified Greek camp, wounding Odysseus and Diomedes in the process, and threatens to set the Greek ships on fire.

Trying to rectify the situation , Patroclus convinced his friend and lover, Achilles, to dress in Achilles ‘ own armour and lead the Myrmidons against the Trojans. The first two times Patroclus launches against the Trojans, he is successful, killing Sarpedon (son of Zeus who participated in the war).  Intoxicated by his success, Patroclus forgets Achilles ‘ warning to be careful, and pursues the fleeing Trojans to the walls of Troy. He would have taken the city were it not for the actions of Apollo. 

The god of music and the sun, is the first one to strike Patroclus. After that first blow and in the heat of the battle, Hector  also finds the disguised Patroclus and, thinking him to be Achilles , fights and (with Apollo’s help)  kills him . Menelaus and the Greeks manage to recover Patroclus’s corpse before Hector can inflict more damage.

Distraught at the death of his companion, Achilles then reconciles with Agamemnon and rejoins the battle, destroying all the Trojans before him in his fury. As the ten year war reaches its climax, even the gods join in the battle and the earth shakes with the clamour of the combat.

Dressed in new armour fashioned specially for him by Hephaestus, Achilles takes revenge for his friend Patroclus by slaying Hector in single combat, but then defiles and desecrates the Trojan prince’s corpse for several days. Now, at last, Patroclus’ funeral can be celebrated in what Achilles sees as a fitting manner. Hector ‘s father, King Priam , emboldened by his grief and aided by Hermes, recovers Hector ‘s corpse from Achilles , and “The Iliad”  ends with Hector ‘s funeral during a twelve day truce granted by Achilles .

Although attributed to Homer , “The Iliad” is clearly dependent on an older oral tradition and may well have been the collective inheritance of many singer-poets over a long period of time (the historical Fall of Troy is usually dated to around the start of the 12th Century BCE). Homer was probably one of the first generation of authors who were also literate, as the Greek alphabet was introduced in the early 8th Century BCE. We knows this because the language used in his epic poems is an archaic version of Ionic Greek, with admixtures from certain other dialects such as Aeolic Greek. However, it is by no means certain that Homer himself (if in fact such a man ever really existed) actually wrote down the verses.

“The Iliad” was part of a group of ancient poems known as the “Epic Cycle” , most of which are now lost to us. These poems dealt with the history of the Trojan War and the events surrounding it. Whether or not they were written down, we do know that Homer ‘s poems (along with others in the “Epic Cycle” ) were recited in later days at festivals and ceremonial occasions by professional singers called “ rhapsodes “. Interestingly enough, these singers used rhythm staffs in order to create a beat out of the rhythm of the words used in the poems.

“The Iliad” itself does not cover the early events of the Trojan War, which had occurred ten years before the events described in the poem. The early occurrences of the Trojan war included an attempt to rescue Helen , the wife of King Menelaus of Sparta, after her abduction by the Trojan prince, Paris . Likewise, the death of Achilles and the eventual fall of Troy are not covered in the poem, and these matters are the subjects of other (non-Homeric) “Epic Cycle” poems, which survive only in fragments. “The Odyssey” , a separate work also by Homer , narrates Odysseus ‘ decade-long journey home to Ithaca after the end of the Trojan War.

The poem consists of twenty-four scrolls , containing 15,693 lines of dactylic hexameter verse . The entire poem has a formal rhythm that is consistent throughout (making it easier to memorize) and yet varied slightly from line to line (preventing it from being monotonous). Many phrases, sometimes whole passages, are repeated verbatim over and over again throughout “The Iliad” , partly to fulfil the demands of the metre and partly as part of the formulaic oral tradition. In the same way, many of the descriptive phrases that are linked with a certain character (such as “ swift-footed Achilles “, “ Diomedes of the great war cry “, “ Hector of the shining helm”, and “ Agamemnon the lord of men”) match the number of syllables in a hero’s name. This is why they are repeated regularly to the extent that they almost seem to become part of the characters’ names themselves.

The immortal gods and goddesses are portrayed as characters in “The Iliad” , displaying individuality and will in their actions. But they are also stock religious figures, sometimes allegorical, sometimes psychological, and their relation to humans is extremely complex. They are often used as a way of explaining how or why an event took place, but they are also sometimes used as comic relief from the war, mimicking, parodying and mocking mortals. Indeed, it is often the gods, not the mortals, who seem casual, petty and small-minded.

The main theme of the poem is that of war and peace , and the whole poem is essentially a description of war and fighting. There is a sense of horror and futility built into Homer ‘s epic, and yet, there is a sense of heroism and glory that adds a glamour to the fighting: Homer appears both to abhor war and to glorify it. Frequent similes tell of the peacetime efforts back home in Greece, and serve as contrasts to the war, reminding us of the human values that are destroyed by fighting, as well as what is worth fighting for.

The concept of heroism , and the honour that results from it, is also one of the major themes running through the poem. Achilles in particular represents the heroic code, and his struggle revolves around his belief in an honour system, as opposed to Agamemnon ‘s reliance on royal privilege. But, as fighter after heroic fighter enters the war in search of honour and is slain before our eyes, the question always remains as to whether their struggle, heroic or not, is really worth the sacrifice.

“ Menin “or “ menis ” (“ anger ” or “ wrath “) is the word that opens “The Iliad” , and one of the major themes of the poem is Achilles coming to terms with his anger and taking responsibility for his actions and emotions.

• English translation by Samuel Butler with popup notes and commentary (eNotes): http://www.enotes.com/iliad-text
• Greek version with word-by-word translation (Perseus Project): http://www.perseus.tufts.edu/hopper/text.jsp?doc=Perseus:text:1999.01.0133
• Detailed book-by-book summary (About.com): http://ancienthistory.about.com/od/iliad/a/Iliad.html

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Honor and Glory

One of the central ideas of the Iliad is the honor that soldiers earn in combat. For an ancient Greek man, the ability to perform in battle is the single greatest source of worthiness. The glory earned by soldiers on the battlefield enabled them to live on in legend, becoming heroes who would be remembered long after death. The characters of the Iliad often make reference to the great heroes of past ages, such as…

The gods in Homer often take an active interest in the lives of mortals, who are sometimes their children by blood. At times the gods take the form of men, as when Apollo speaks into Hector ’s ear, persuading him toward a particular course of action or filling him with the strength to push back enemies. At times, the role of the gods can seem metaphorical, explaining strange changes in the moods and strength of…

Fate and Free Will

Throughout the Iliad there is a deep sense that everything that will come to pass is already fated to happen. For Homer, the Trojan War was already an old story passed down for generations, and the poem is presented from the very beginning as a completed story, “the will of Zeus …moving toward its end.” In the lives of men, the gods are powerful enough to act as fate, spurring them to actions they might…

Wartime Versus Peacetime

Although the Iliad is largely the tale of a brutal war, it contains many reflections of the peacetime life of the ancient Greek civilization. For the characters of the poem, war is something that is connected with the other parts of life, something that every man must undergo as he defends his city. The most important sign of the relationship between war and peace is found in Book 18, when the god Hephaestus forges the…

As a story of war, the Iliad confronts the fact that all men are doomed to die. The poem’s battles are filled with descriptions of the deaths of soldiers who only appear in the poem in order to pass away. Homer frequently provides a small story of the life or family history of the deceased, a gesture that shows the tragedy of how much those soldiers leave behind them. However, death in battle is also…

Love and Friendship

Throughout the Iliad strong ties of love and friendship are central to the poem’s development. The friendship between soldiers can be a vital force that spurs them onward, whether in living friendship or out of revenge for the fallen. Two warriors, like Great and Little Ajax , can become a powerful fighting team because of their camaraderie. However, the desire to protect friends and loved ones extends beyond the battlefield. In some sense The Trojan…

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Simone Weil

The iliad, or the poem of force.

The true hero, the true subject, the center of the Iliad is force. Force employed by man, force that enslaves man, force before which man’s flesh shrinks away. In this work, at all times, the human spirit is shown as modified by its relations with force, as swept away, blinded, by the very force it imagined it could handle, as deformed by the weight of the force it submits to. For those dreamers who considered that force, thanks to progress, would soon be a thing of the past, the Iliad could appear as an historical document; for others, whose powers of recognition are more acute and who perceive force, today as yesterday, at the very center of human history, the Iliad is the purest and the loveliest of mirrors.

To define force — it is that x that turns anybody who is subjected to it into a thing. Exercised to the limit, it turns man into a thing in the most literal sense: it makes a corpse out of him. Somebody was here, and the next minute there is nobody here at all; this is a spectacle the Iliad never wearies of showing us:

The hero becomes a thing dragged behind a chariot in the dust:

The bitterness of such a spectacle is offered us absolutely undiluted. No comforting fiction intervenes; no consoling prospect of immortality; and on the hero’s head no washedout halo of patriotism descends.

Still more poignant — so painful is the contrast — is the sudden evocation, as quickly rubbed out, of another world: the faraway, precarious, touching world of peace, of the family, the world in which each man counts more than anything else to those about him.

Far from hot baths he was indeed, poor man. And not he alone. Nearly all the lliad takes place far from hot baths. Nearly all of human life, then and now, takes place far from hot baths.

Here we see force in its grossest and most summary form — the force that kills. How much more varied in its processes, how much more surprising in its effects is the other force, the force that does not kill, i.e., that does not kill just yet. It will surely kill, it will possibly kill, or perhaps it merely hangs, poised and ready, over the head of the creature it can kill, at any moment, which is to say at every moment. In whatever aspect, its effect is the same: it turns a man into a stone. From its first property (the ability to turn a human being into a thing by the simple method of killing him) flows another, quite prodigious too in its own way, the ability to turn a human being into a thing while he is still alive. He is alive; he has a soul; and yet — he is a thing. An extraordinary entity this — a thing that has a soul. And as for the soul, what an extraordinary house it finds itself in! Who can say what it costs it, moment by moment, to accommodate itself to this residence, how much writhing and bending, folding and pleating are required of it? It was not made to live inside a thing; if it does so, under pressure of necessity, there is not a single element of its nature to which violence is not done.

A man stands disarmed and naked with a weapon pointing at him; this person becomes a corpse before anybody or anything touches him. Just a minute ago, he was thinking, acting, hoping:

Soon, however, he grasps the fact that the weapon which is pointing at him will not be diverted; and now, still breathing, he is simply matter; still thinking, he can think no longer:

If a stranger, completely disabled, disarmed, strengthless, throws himself on the mercy of a warrior, he is not, by this very act, condemned to death; but a moment of impatience on the warrior’s part will suffice to relieve him of his life. In any case, his flesh has lost that very important property which in the laboratory distinguishes living flesh from dead — the galvanic response. If you give a frog’s leg an electric shock, it twitches. If you confront a human being with the touch or sight of something horrible or terrifying, this bundle of muscles, nerves, and flesh likewise twitches.

Alone of all living things, the suppliant we have just described neither quivers nor trembles. He has lost the right to do so.

As his lips advance to touch the object that is for him of all things most charged with horror, they do not draw back on his teeth — they cannot:

The sight of a human being pushed to such an extreme of suffering chills us like the sight of a dead body:

But this feeling lasts only a moment. Soon the very presence of the suffering creature is forgotten:

It was not insensibility that made Achilles with a single movement of his hand push away the old man who had been clinging to his knees; Priam’s words, recalling his own old father, had moved him to tears. It was merely a question of his being as free in his attitudes and movements as if, clasping his knees, there were not a suppliant but an inert object. Anybody who is in our vicinity exercises a certain power over us by his very presence, and a power that belongs to him alone, that is, the power of halting, repressing, modifying each movement that our body sketches out. If we step aside for a passer-by on the road, it is not the same thing as stepping aside to avoid a billboard; alone in our rooms, we get up, walk about, sit down again quite differently from the way we do when we have a visitor. But this indefinable influence that the presence of another human being has on us is not exercised by men whom a moment of impatience can deprive of life, who can die before even thought has a chance to pass sentence on them. In their presence, people move about as if they were not there; they, on their side, running the risk of being reduced to nothing in a single instant, imitate nothingness in their own persons. Pushed, they fall. Fallen, they lie where they are, unless chance gives somebody the idea of raising them up again. But supposing that at long last they have been picked up, honored with cordial remarks, they still do not venture to take this resurrection seriously; they dare not express a wish lest an irritated voice return them forever to silence:

At least a suppliant, once his prayer is answered, becomes a human being again, like everybody else. But there are other, more unfortunate creatures who have become things for the rest of their lives. Their days hold no pastimes, no free spaces, no room in them for any impulse of their own.

It is not that their life is harder than other men’s nor that they occupy a lower place in the social hierarchy; no, they are another human species, a compromise between a man and a corpse. The idea of a person’s being a thing is a logical contradiction. Yet what is impossible in logic becomes true in life, and the contradiction lodged within the soul tears it to shreds. This thing is constantly aspiring to be a man or a woman, and never achieving it — here, surely, is death but death strung out over a whole lifetime; here, surely is life, but life that death congeals before abolishing.

This strange fate awaits the virgin, the priest’s daughter:

It awaits the young wife, the young mother, the prince’s bride:

It awaits the baby, heir to the royal scepter:

In the mother’s eyes, such a fate is, for her child, as terrible as death; the husband would rather die than see his wife reduced to it; all the plagues of heaven are invoked by the father against the army that subjects his daughter to it. Yet the victims themselves are beyond all this. Curses, feelings of rebellion, comparisons, reflections on the future and the past, are obliterated from the mind of the captive; and memory itself barely lingers on. Fidelity to his city and his dead is not the slave’s privilege.

And what does it take to make the slave weep? The misfortune of his master, his oppressor, despoiler, pillager, of the man who laid waste his town and killed his dear ones under his very eye .... This man suffers or dies; then the slave’s tears come. And really why not? This is for him the only occasion on which tears are permitted, are, indeed, required. A slave will always cry whenever he can do so with impunity — his situation keeps tears on tap for him.

Since the slave has no license to express anything except what is pleasing to his master, it follows that the only emotion that can touch or enliven him a little, that can reach him in the desolation of his life, is the emotion of love for his master.

There is no place else to send the gift of love; all other outlets are barred, just as, with the horse in harness, bit, shafts, reins bar every way but one. And if, by some miracle, in the slave’s breast a hope is born, the hope of becoming, some day, through somebody’s influence, someone once again, how far won’t these captives go to show love and thankfulness, even though these emotions are addressed to the very men who should, considering the very recent past, still reek with horror for them:

To lose more than the slave does is impossible, for he loses his whole inner life. A fragment of it he may get back if he sees the possibility of changing his fate, but this is his only hope. Such is the empire of force, as extensive as the empire of nature. Nature, too, when vital needs are at stake, can erase the whole inner life, even the grief of a mother:

Force, in the hands of another, exercises over the soul the same tyranny that extreme hunger does; for it possesses, and in perpetuo, the power of life and death. Its rule, moreover, is as cold and hard as the rule of inert matter.

The man who knows himself weaker than another is more alone in the heart of a city than a man lost in the desert.

Force is as pitiless to the man who possesses it, or thinks he does, as it is to its victims; the second it crushes, the first it intoxicates. The truth is, nobody really possesses it. The human race is not divided up, in the Iliad, into conquered persons, slaves, suppliants, on the one hand, and conquerors and chiefs on the other. In this poem there is not a single man who does not at one time or another have to bow his neck to force. The common soldier in the Iliad is free and has the right to bear arms; nevertheless he is subject to the indignity of orders and abuse:

Thersites pays dear for the perfectly reasonable comments he makes, comments not at all different, moreover, from those made by Achilles:

Achilles himself, that proud hero, the undefeated, is shown us at the outset of the poem, weeping with humiliation and helpless grief — the woman he wanted for his bride has been taken from under his nose, and he has not dared to oppose it:

What has happened is that Agamemnon has deliberately humiliated Achilles, to show that he himself is the master:

But a few days pass and now the supreme commander is weeping in his turn. He must humble himself, he must plead, and have, moreover, the added misery of doing it all in vain.

In the same way, there is not a single one of the combatants who is spared the shameful experience of fear. The heroes quake like everybody else. It only needs a challenge from Hector to throw the whole Greek force into consternation--except for Achilles and his men, and they did not happen to be present:

But once Ajax comes forward and offers himself, fear quickly changes sides:

Two days later, it is Ajax’s turn to be terrified:

Even to Achilles the moment comes; he too must shake and stammer with fear, though it is a river that has this effect on him, not a man. But, with the exception of Achilles, every man in the Iliad tastes a moment of defeat in battle. Victory is less a matter of valor than of blind destiny, which is symbolized in the poem by Zeus’s golden scales:

By its very blindness, destiny establishes a kind of justice. Blind also is she who decrees to warriors punishment in kind. He that takes the sword, will perish by the sword. The Iliad formulated the principle long before the Gospels did, and in almost the same terms:

Perhaps all men, by the very act of being born, are destined to suffer violence; yet this is a truth to which circumstance shuts men’s eyes. The strong are, as a matter of fact, never absolutely strong, nor are the weak absolutely weak, but neither is aware of this. They have in common a refusal to believe that they both belong to the same species: the weak see no relation between themselves and the strong, and vice versa. The man who is the possessor of force seems to walk through a non-resistant element; in the human substance that surrounds him nothing has the power to interpose, between the impulse and the act, the tiny interval that is reflection.

Where there is no room for reflection, there is none either for justice or prudence. Hence we see men in arms behaving harshly and madly. We see their sword bury itself in the breast of a disarmed enemy who is in the very act of pleading at their knees. We see them triumph over a dying man by describing to him the outrages his corpse will endure. We see Achilles cut the throats of twelve Trojan boys on the funeral pyre of Patroclus as naturally as we cut flowers for a grave.

These men, wielding power, have no suspicion of the fact that the consequences of their deeds will at length come home to them — they too will bow the neck in their turn. If you can make an old man fall silent, tremble, obey, with a single word of your own, why should it occur to you that the curses of this old man, who is after all a priest, will have their own importance in the gods’ eyes? Why should you refrain from taking Achilles’ girl away from him if you know that neither he nor she can do anything but obey you? Achilles rejoices over the sight of the Greeks fleeing in misery and confusion.

What could possibly suggest to him that this rout, which will last exactly as long as he wants it to and end when his mood indicates it, that this very rout will be the cause of his friend’s death, and, for that matter, of his own? Thus it happens that those who have force on loan from fate count on it too much and are destroyed.

But at the time their own destruction seems impossible to them. For they do not see that the force in their possession is only a limited quantity; nor do they see their relations with other human beings as a kind of balance between unequal amounts of force. Since other people do not impose on their movements that halt, that interval of hesitation, wherein lies all our consideration for our brothers in humanity, they conclude that destiny has given complete license to them, and none at all to their inferiors. And at this point they exceed the measure of the force that is actually at their disposal. Inevitably they exceed it, since they are not aware that it is limited. And now we see them committed irretrievably to chance; suddenly things cease to obey them. Sometimes chance is kind to them, sometimes cruel. But in any case there they are, exposed, open to misfortune; gone is the armor of power that formerly protected their naked souls; nothing, no shield, stands between them and tears.

This retribution, which has a geometrical rigor, which operates automatically to penalize the abuse of force, was the main subject of Greek thought. It is the soul of the epic. Under the name of Nemesis, it functions as the mainspring of Aeschylus’s tragedies. To the Pythagoreans, to Socrates and Plato, it was the jumping-off point of speculation upon the nature of man and the universe. Wherever Hellenism has penetrated, we find the idea of it familiar. In Oriental countries which are steeped in Buddhism, it is perhaps this Greek idea that bas lived on under the name of Kharma. The Occident, however, has lost it, and no longer even has a word to express it in any of its languages: conceptions of limit, measure, equilibrium, which ought to determine the conduct of life are, in the West, restricted to a servile function in the vocabulary of technics. We are only geometricians of matter; the Greeks were, first of all, geometricians in their apprenticeship to virtue.

The progress of the war in the Iliad is simply a continual game of seesaw. The victor of the moment feels himself invincible, even though, only a few hours before, he may have experienced defeat; he forgets to treat victory as a transitory thing. At the end of the first day of combat described in the Iliad, the victorious Greeks were in a position to obtain the object of all their efforts, i.e., Helen and her riches — assuming of course as Homer did, that the Greeks had reason to believe that Helen was in Troy. Actually, the Egyptian priests, who ought to have known, affirmed later on to Herodotus that she was in Egypt. In any case, that evening the Greeks are no longer interested in her or her possessions:

What they want is, in fact, everything. For booty, all the riches of Troy; for their bonfires, all the palaces, temples, houses; for slaves, all the women and children; for corpses, all the men. They forget one detail, that everything is not within their power, for they are not in Troy. Perhaps they will be there tomorrow; perhaps not. Hector, the same day, makes the same mistake:

At this moment what would he not give to turn aside those horrors which he believes to be inevitable? But at this moment nothing he could give would be of any use. The next day but one, however, the Greeks have run away miserably, and Agamemnon himself is in favor of putting to the sea again.

And now Hector, by making a very few concessions, could readily secure the enemy’s departure; yet now he is even unwilling to let them go empty-handed:

His wish is granted; the Greeks stay; and the next day they reduce Hector and his men to a pitiable condition:

In the course of the afternoon, Hector regains the ascendancy, withdraws again, then puts the Greeks to flight, then is repulsed by Patroclus, who has come in with his fresh troops.

Patroclus, pressing his advantage, ends by finding himself exposed, wounded and without armor, to the sword of Hector.

And finally that evening the victorious Hector hears the prudent counsel of Polydamas and repudiates it sharply:

The next day Hector is lost. Achilles has harried him across the field and is about to kill him. He has always been the stronger of the two in combat; how much the more so now, after several weeks of rest, ardent for vengeance and victory, against an exhausted enemy? And Hector stands alone, before the walls of Troy, absolutely alone, alone to wait for death and to steady his soul to face it:

Not a jot of the grief and ignominy that fall to the unfortunate is Hector spared. Alone, stripped of the prestige of force, he discovers that the courage that kept him from taking to the shelter of the walls is not enough to save him from flight:

Wounded to death, he enhances his conqueror’s triumph by vain supplications:

But the auditors of the Iliad knew that the death of Hector would be but a brief joy to Achilles, and the death of Achilles but a brief joy to the Trojans, and the destruction of Troy but a brief joy to the Achaeans.

THUS violence obliterates anybody who feels its touch. It comes to seem just as external to its employer as to its victim. And from this springs the idea of a destiny before which executioner and victim stand equally innocent, before which conquered and conqueror are brothers in the same distress. The conquered brings misfortune to the conqueror, and vice versa:

A moderate use of force, which alone would enable man to escape being enmeshed in its machinery, would require superhuman virtue, which is as rare as dignity in weakness.

Moreover, moderation itself is not without its perils, since prestige, from which force derives at least three quarters of its strength, rests principally upon that marvelous indifference that the strong feel toward the weak, an indifference so contagious that it infects the very people who are the objects of it. Yet ordinarily excess is not arrived at through prudence or politic considerations. On the contrary, man dashes to it as to an irresistible temptation. The voice of reason is occasionally heard in the mouths of the characters in the Iliad. Thersites’ speeches are reasonable to the highest degree; so are the speeches of the angry Achilles:

But words of reason drop into the void. If they come from an inferior, he is punished and shuts up; if from a chief, his actions betray them. And failing everything else, there is always a god handy to advise him to be unreasonable. In the end, the very idea of wanting to escape the role fate has allotted one — the business of killing and dying — disappears from the mind:

Already these warriors, like Craonne’s so much later, felt themselves to be “condemned men.”

It was the simplest trap that pitched them into this situation. At the outset, at the embarkation, their hearts are light, as hearts always are if you have a large force on your side and nothing but space to oppose you. Their weapons are in their hands; the enemy is absent. Unless your spirit has been conquered in advance by the reputation of the enemy, you always feel yourself to be much stronger than anybody who is not there. An absent man does not impose the yoke of necessity. To the spirits of those embarking no necessity yet presents itself; consequently they go off as though to a game, as though on holiday from the confinement of daily life.

But the first contact of war does not immediately destroy the illusion that war is a game. War’s necessity is terrible, altogether different in kind from the necessity of peace. So terrible is it that the human spirit will not submit to it so long as it can possibly escape; and whenever it can escape it takes refuge in long days empty of necessity, days of play, of revery, days arbitrary and unreal. Danger then becomes an abstraction; the lives you destroy are like toys broken by a child, and quite as incapable of feeling; heroism is but a theatrical gesture and smirched with boastfulness. This becomes doubly true if a momentary access of vitality comes to reinforce the divine hand that wards off defeat and death. Then war is easy and basely, coarsely loved.

But with the majority of the combatants this state of mind does not persist. Soon there comes a day when fear, or defeat, or the death of beloved comrades touches the warrior’s spirit, and it crumbles in the hand of necessity. At that moment war is no more a game or a dream; now at last the warrior cannot doubt the reality of its existence. And this reality, which he perceives, is hard, much too hard to be borne, for it enfolds death. Once you acknowledge death to be a practical possibility, the thought of it becomes unendurable, except in flashes. True enough, all men are fated to die; true enough also, a soldier may grow old in battles; yet for those whose spirits have bent under the yoke of war, the relation between death and the future is different than for other men. For other men death appears as a limit set in advance on the future; for the soldier death is the future, the future his profession assigns him. Yet the idea of man’s having death for a future is abhorrent to nature. Once the experience of war makes visible the possibility of death that lies locked up in each moment, our thoughts cannot travel from one day to the next without meeting death’s face. The mind is then strung up to a pitch it can stand for only a short time; but each new dawn reintroduces the same necessity; and days piled on days make years. On each one of these days the soul suffers violence. Regularly, every morning, the soul castrates itself of aspiration, for thought cannot journey through time without meeting death on the way. Thus war effaces all conceptions of purpose or goal, including even its own “war aims.” It effaces the very notion of war’s being brought to an end. To be outside a situation so violent as this is to find it inconceivable; to be inside it is to be unable to conceive its end. Consequently, nobody does anything to bring this end about. In the presence of an armed enemy, what hand can relinquish its weapon? The mind ought to find a way out, but the mind has lost all capacity to so much as look outward. The mind is completely absorbed in doing itself violence. Always in human life, whether war or slavery is in question, intolerable sufferings continue, as it were, by the force of their own specific gravity, and so look to the outsider as though they were easy to bear; actually, they continue because they have deprived the sufferer of the resources which might serve to extricate him.

Nevertheless, the soul that is enslaved to war cries out for deliverance, but deliverance itself appears to it in an extreme and tragic aspect, the aspect of destruction. Any other solution, more moderate, more reasonable in character, would expose the mind to suffering so naked, so violent that it could not be borne, even as memory. Terror, grief, exhaustion, slaughter, the annihilation of comrades — is it credible that these things should not continually tear at the soul, if the intoxication of force had not intervened to drown them? The idea that an unlimited effort should bring in only a limited profit or no profit at all is terribly painful.

But actually what is Helen to Ulysses? What indeed is Troy, full of riches that will not compensate him for Ithaca’s ruin? For the Greeks, Troy and Helen are in reality mere sources of blood and tears; to master them is to master frightful memories. If the existence of an enemy has made a soul destroy in itself the thing nature put there, then the only remedy the soul can imagine is the destruction of the enemy. At the same time the death of dearly loved comrades arouses a spirit of somber emulation, a rivalry in death:

It is the same despair that drives him on toward death, on the one hand, and slaughter on the other:

The man possessed by this twofold need for death belongs, so long as he has not become something still different, to a different race from the race of the living.

What echo can the timid hopes of life strike in such a heart? How can it hear the defeated begging for another sight of the light of day? The threatened life has already been relieved of nearly all its consequence by a single, simple distinction: it is now unarmed; its adversary possesses a weapon.

Furthermore, how can a man who has rooted out of himself the notion that the light of day is sweet to the eyes respect such a notion when it makes its appearance in some futile and humble lament?

What a reception this feeble hope gets!

To respect life in somebody else when you have had to castrate yourself of all yearning for it demands a truly heartbreaking exertion of the powers of generosity. It is impossible to imagine any of Homer’s warriors being capable of such an exertion, unless it is that warrior who dwells, in a peculiar way, at the very center of the poem-! mean Patroclus, who “knew hew to be sweet to everybody,” and who throughout the Iliad commits no cruel or brutal act. But then how many men do we know, in several thousand years of human history, who would have displayed such god-like generosity? Two or three? — even this is doubtful. Lacking this generosity, the conquering soldier is like a scourge of nature. Possessed by war, he, like the slave, becomes a thing, though his manner of doing so is different--over him too, words are as powerless as over matter itself. And both, at the touch of force, experience its inevitable effects: they become deaf and dumb.

Such is the nature of force. Its power of converting a man into a thing is a double one, and in its application double-edged. To the same degree, though in different fashions, those who use it and those who endure it are turned to stone. This property of force achieves its maximum eflectiveness during the clash of arms, in battle, when the tide of the day has turned, and everything is rushing toward a decision. It is not the planning man, the man of strategy, the man acting on the resolution taken, who wins or loses a battle; battles are fought and decided by men deprived of these faculties, men who have undergone a transformation, who have dropped either to the level of inert matter, which is pure passivity, or to the level of blind force, which is pure momentum.

Herein lies the last secret of war, a secret revealed by the Iliad in its similes, which liken the warriors either to fire, flood, wind, wild beasts, or God knows what blind cause of disaster, or else to frightened animals, trees, water, sand, to anything in nature that is set into motion by the violence of external forces. Greeks and Trojans, from one day to the next, sometimes even from one hour to the next, experience, turn and turn about, one or the other of these transmutations:

The art of war is simply the art of producing such transformations, and its equipment, its processes, even the casualties it inflicts on the enemy, are only means directed toward this end — its true object is the warrior’s soul. Yet these transformations are always a mystery; the gods are their authors, the gods who kindle men’s imagination. But however caused, this petrifactive quality of force, two-fold always, is essential to its nature; and a soul which has entered the province of force will not escape this except by a miracle. Such miracles are rare and of brief duration.

THE wantonness of the conqueror that knows no respect for any creature or thing that is at its mercy or is imagined to be so, the despair of the soldier that drives him on to destruction, the obliteration of the slave or the conquered man, the wholesale slaughter — all these elements combine in the Iliad to make a picture of uniform horror, of which force is the sole hero. A monotonous desolation would result were it not for those few luminous moments, scattered here and there throughout the poem, those brief, celestial moments in which man possesses his soul. The soul that awakes then, to live for an instant only and be lost almost at once in force’s vast kingdom, awakes pure and whole; it contains no ambiguities, nothing complicated or turbid; it has no room for anything but courage and love. Sometimes it is in the course of inner deliberations that a man finds his soul: he meets it, like Hector before Troy, as he tries to face destiny on his own terms, without the help of gods or men. At other times, it is in a moment of love that men discover their souls — and there is hardly any form of pure love known to humanity of which the Iliad does not treat. The tradition of hospitality persists, even through several generations, to dispel the blindness of combat.

The love of the son for the parents, of father for son, of mother for son, is continually described, in a manner as touching as it is curt:

Even brotherly love:

Conjugal love, condemned to sorrow, is of an astonishing purity. Imaging the humiliations of slavery which await a beloved wife, the husband passes over the one indignity which even in anticipation would stain their tenderness. What could be simpler than the words spoken by his wife to the man about to die?

Not less touching are the words expressed to a dead husband:

The most beautiful friendship of all, the friendship between comrades-at-arms, is the final theme of The Epic:

But the purest triumph of love, the crowning grace of war, is the friendship that floods the hearts of mortal enemies. Before it a murdered son or a murdered friend no longer cries out for vengeance. Before it--even more miraculous — the distance between benefactor and suppliant, between victor and vanquished, shrinks to nothing:

These moments of grace are rare in the Iliad, but they are enough to make us feel with sharp regret what it is that violence has killed and will kill again.

However, such a heaping-up of violent deeds would have a frigid effect, were it not for the note of incurable bitterness that continually makes itself heard, though often only a single word marks its presence, often a mere stroke of the verse, or a run-on line. It is in this that the Iliad is absolutely unique, in this bitterness that proceeds from tenderness and that spreads over the whole human race, impartial as sunlight. Never does the tone lose its coloring of bitterness; yet never does the bitterness drop into lamentation. Justice and love, which have hardly any place in this study of extremes and of unjust acts of violence, nevertheless bathe the work in their light without ever becoming noticeable themselves, except as a kind of accent. Nothing precious is scorned, whether or not death is its destiny; everyone’s unhappiness is laid bare without dissimulation or disdain; no man is set above or below the condition common to all men; whatever is destroyed is regretted. Victors and vanquished are brought equally near us; under the same head, both are seen as counterparts of the poet, and the listener as well. If there is any difference, it is that the enemy’s misfortunes are possibly more sharply felt.

And what accents echo the fate of the lad Achilles sold at Lemnos!

And the fate of Euphorbus, who saw only a single day of war.

When Hector is lamented:

In these few words, chastity appears, dirtied by force, and childhood, delivered to the sword. The fountain at the gates of Troy becomes an object of poignant nostalgia when Hector runs by, seeking to elude his doom:

The whole of the Iliad lies under the shadow of the greatest calamity the human race can experience — the destruction of a city. This calamity could not tear more at the heart had the poet been born in Troy. But the tone is not different when the Achaeans are dying, far from home.

Insofar as this other life, the life of the living, seems calm and full, the brief evocations of the world of peace are felt as pain:

Whatever is not war, whatever war destroys or threatens, the Iliad wraps in poetry; the realities of war, never. No reticence veils the step from life to death:

The cold brutality of the deeds of war is left undisguised; neither victors nor vanquished are admired, scorned, or hated.

Almost always, fate and the gods decide the changing lot of battle. Within the limits fixed by fate, the gods determine with sovereign authority victory and defeat. It is always they who provoke those fits of madness, those treacheries, which are forever blocking peace; war is their true business; their only motives, caprice and malice. As for the warriors, victors or vanquished, those comparisons which liken them to beasts or things can inspire neither admiration nor contempt, but only regret that men are capable of being so transformed.

There may be, unknown to us, other expressions of the extraordinary sense of equity which breathes through the Iliad; certainly it has not been imitated. One is barely aware that the poet is a Greek and not a Trojan. The tone of the poem furnishes a direct clue to the origin of its oldest portions; history perhaps will never be able to tell us more. If one believes with Thucydides that eighty years after the fall of Troy, the Achaeans in their turn were conquered, one may ask whether these songs, with their rare references to iron, are not the songs of a conquered people, of whom a few went into exile. Obliged to live and die, “very far from the homeland,” like the Greeks who fell before Troy, having lost their cities like the Trojans, they saw their own image both in the conquerors, who had been their fathers, and in the conquered, whose misery was like their own. They could still see the Trojan war over that brief span of years in its true light, unglossed by pride or shame. They could look at it as conquered and as conquerors simultaneously, and so perceive what neither conqueror nor conquered ever saw, for both were blinded. Of course, this is mere fancy; one can see such distant times only in fancy’s light.

In any case, this poem is a miracle. Its bitterness is the only justifiable bitterness, for it springs from the subjections of the human spirit to force, that is, in the last analysis, to matter. This subjection is the common lot, although each spirit will bear it differently, in proportion to its own virtue. No one in the Iliad is spared by it, as no one on earth is. No one who succumbs to it is by virtue of this fact regarded with contempt. Whoever, within his own soul and in human relations, escapes the dominion of force is loved but loved sorrowfully because of the threat of destruction that constantly hangs over him.

Such is the spirit of the only true epic the Occident possesses. The Odyssey seems merely a good imitation, now of the Iliad, now of Oriental poems; the Aeneid is an imitation which, however brilliant, is disfigured by frigidity, bombast, and bad taste. The chansons de geste, lacking the sense of equity, could not attain greatness: in the Chanson de Roland, the death of an enemy does not come home to either author or reader in the same way as does the death of Roland.

Attic tragedy, or at any rate the tragedy of Aeschylus and Sophocles, is the true continuation of the epic. The conception of justice enlightens it, without ever directly intervening in it ; here force appears in its coldness and hardness, always attended by effects from whose fatality neither those who use it nor those who suffer it can escape; here the shame of the coerced spirit is neither disguised, nor enveloped in facile pity, nor held up to scorn; here more than one spirit bruised and degraded by misfortune is offered for our admiration. The Gospels are the last marvelous expression of the Greek genius, as the Iliad is the first : here the Greek spirit reveals itself not only in the injunction given mankind to seek above all other goods, “the kingdom and justice of our Heavenly Father,” but also in the fact that human suffering is laid bare, and we see it in a being who is at once divine and human. The accounts of the Passion show that a divine spirit, incarnate, is changed by misfortune, trembles before suffering and death, feels itself, in the depths of its agony, to be cut off from man and God.

The sense of human misery gives the Gospels that accent of simplicity that is the mark of the Greek genius, and that endows Greek tragedy and the Iliad with all their value. Certain phrases have a ring strangely reminiscent of the epic, and it is the Trojan lad dispatched to Hades, though he does not wish to go, who comes to mind when Christ says to Peter: “Another shall gird thee and carry thee whither thou wouldst not.” This accent cannot be separated from the idea that inspired the Gospels, for the sense of human misery is a pre-condition of justice and love. He who does not realize to what extent shifting fortune and necessity hold in subjection every human spirit, cannot regard as fellow-creatures nor love as he loves himself those whom chance separated from him by an abyss.

The variety of constraints pressing upon man give rise to the illusion of several distinct species that cannot communicate.

Only he who has measured the dominion of force, and knows how not to respect it, is capable of love and justice.

The relations between destiny and the human soul, the extent to which each soul creates its own destiny, the question of what elements in the soul are transformed by merciless necessity as it tailors the soul to fit the requirements of shifting fate, and of what elements can on the other hand be preserved, through the exercise of virtue and through grace — this whole question is fraught with temptations to falsehood, temptations that are positively enhanced by pride, by shame, by hatred, contempt, indifference, by the will to oblivion or to ignorance.

Moreover, nothing is so rare as to see misfortune fairly portrayed; the tendency is either to treat the unfortunate person as though catastrophe were his natural vocation, or to ignore the effects of misfortune on the soul, to assume, that is, that the soul can suffer and remain unmarked by it, can fail, in fact, to be recast in misfortune’s image. The Greeks, generally speaking, were endowed with spiritual force that allowed them to avoid self-deception. The rewards of this were great; they discovered how to achieve in all their acts the greatest lucidity, purity, and simplicity. But the spirit that was transmitted from the Iliad to the Gospels by way of the tragic poets never jumped the borders of Greek civilization; once Greece was destroyed, nothing remained of this spirit but pale reflections.

Both the Romans and the Hebrews believed themselves to be exempt from the misery that is the common human lot.

The Romans saw their country as the nation chosen by destiny to be mistress of the world; with the Hebrews, it was their God who exalted them and they retained their superior position just as long as they obeyed Him. Strangers, enemies, conquered peoples, subjects, slaves, were objects of contempt to the Romans; and the Romans had no epics, no tragedies.

In Rome gladiatorial fights took the place of tragedy. With the Hebrews, misfortune was a sure indication of sin and hence a legitimate object of contempt; to them a vanquished enemy was abhorrent to God himself and condemned to expiate all sorts of crimes — this is a view that makes cruelty permissible and indeed indispensable. And no text of the Old Testament strikes a note comparable to the note heard in the Greek epic, unless it be certain parts of the book of Job.

Throughout twenty centuries of Christianity, the Romans and the Hebrews have been admired, read, imitated, both in deed and word; their masterpieces have yielded an appropriate quotation every time anybody had a crime he wanted to justify.

Furthermore, the spirit of the Gospels was not handed down in a pure state from one Christian generation to the next. To undergo suffering and death joyfully was from the very beginning considered a sign of grace in the Christian martyrs — as though grace could do more for a human being than it could for Christ. Those who believe that God himself, once he became man, could not face the harshness of destiny without a long tremor of anguish, should have understood that the only people who can give the impression of having risen to a higher plane, who seem superior to ordinary human misery, are the people who resort to the aids of illusion, exaltation, fanaticism, to conceal the harshness of destiny from their own eyes. The man who does not wear the armor of the lie cannot experience force without being touched by it to the very soul.

Grace can prevent this touch from corrupting him, but it cannot spare him the wound. Having forgotten it too well, Christian tradition can only rarely recover that simplicity that renders so poignant every sentence in the story of the Passion.

On the other hand, the practice of forcible proselytization threw a veil over the effects of force on the souls of those who used it.

In spite of the brief intoxication induced at the time of the Renaissance by the discovery of Greek literature, there has been, during the course of twenty centuries, no revival of the Greek genius. Something of it was seen in Villon, in Shakespeare, Cervantes, Moliere, and — just once — in Racine. The bones of human suffering are exposed in L’Ecole des Femmes and in Phedre, love being the context — a strange century indeed, which took the opposite view from that of the epic period, and would only acknowledge human suffering in the context of love, while it insisted on swathing with glory the effects of force in war and in politics. To the list of writers given above, a few other names might be added. But nothing the peoples of Europe have produced is worth the first known poem that appeared among them. Perhaps they will yet rediscover the epic genius, when they learn that there is no refuge from fate, learn not to admire force, not to hate the enemy, nor to scorn the unfortunate. How soon this will happen is another question.

Iliad Study Guide

Consisting of 15,693 lines of verse, the Iliad has been hailed as the greatest epic of Western civilization. Although we know little about the time period when it was composed and still less about the epic's composer, the Iliad's influence on subsequent generations of poets and writers is incalculable. The great Aeschylus claimed that his plays consisted only of the scraps left over from Homer ; centuries later, Virgil, writing a founding myth centuries later for the great Roman Empire, took Homer as his inspiration and model. The influence of Homer is felt down through the centuries, in Dante and Chaucer, Shakespeare and Milton; such is his power that men who read no word of Greek and who had no access to translations spoke of Homer and his epics with deep reverence. After 2,700 years, it remains unsurpassed as the West's greatest war story.

The Iliad has its basis in the rich mythology of Greece. Knowledge of mythology can be a hindrance as well as an aid for the modern reader approaching the Iliad, because the myths underwent changes and variations throughout the centuries before and after Homer. Readers must take care to pay attention to the specifics of Homer's story, without superimposing myths gathered from elsewhere. Popularly known is the story of Achilles ' invulnerability, with the fatal exception of his heel. This myth has no place in the Iliad: Achilles is as mortal as everyone else, and Homer explicitly tells us that this is the case. He does not owe his strength to rituals by the River Styx performed by his mother during his infancy, and there is no mention of a vulnerable heel. The poem does not deal with the sack of Troy, or with the famous episode of the Trojan horse, although the horse is alluded to in the Odyssey. Another myth holds that Helen 's father, Tyndareus, feared that Helen's beauty would bring her suitors to war. To prevent war all across Greece, he made the suitors all swear to stand by the man chosen to be Helen's husband in the event that she should be abducted. There is no mention of this story anywhere in the Iliad. And another well-known story tells us that the Achaean war fleet gathered at Aulis and could not sail because of the wrath of the goddess Artemis . To appease the goddess, Agamemnon sacrificed his own daughter, Iphigenia. Again, the myth is not part of Homer's story. He either lived before these myths evolved or he did not find them suitable for his purposes.

Archeological evidence suggests that there was a great city near the Hellespont, on the site traditionally ascribed to Troy. It was destroyed by war sometime around the thirteenth century BCE. The Iliad probably has some basis in fact; there may have been a massive campaign by Greek-speaking peoples against a great city on the coast of Asia Minor. Homer himself was a Greek living in one of the colonies of Asia Minor, but his epics deal with a time when no Greek lived in Asia. Given the evidence, it seems safe to say that his work attempts to reconstruct stories from a past that was already distant. In the time before written history, the passage of a few centuries made accurate recall of historical events all but impossible. Homer's Iliad is therefore more myth than history, although many ancient Greeks understood his epics as being in some way factual. The heroes of the Iliad were very real to the Greeks, holding a place in their history as well as their literature and religion. During the time of Alexander the Great, Greeks recognized a structure in Asia Minor as the burial mound of Achilles and Patroclus , and families often traced their ancestry back to heroes in the Iliad.

This study guide uses the Richard Lattimore translation when referring to specific passages. However, the names used are from the Robert Fagles translation, since the Fagles version uses the name forms that are most familiar to the modern English-speaking reader.

Iliad Questions and Answers

The Question and Answer section for Iliad is a great resource to ask questions, find answers, and discuss the novel.

Nestor seems like a minor character in The Iliad, but he actually plays a significant role in the development of the epic’s plot. What are some of the ways in which the aged king propels the action of the story? What effect does he have on the epic as a w

Nestor seems like a minor characterin the iliad but he actually plays a significants role in the development of the epics plot. What are some of the ways in which the aged king propels the action of the story? What affects does he have on the epic...

Which side does the warrior Diomedes fight for during the Trojan War?

Diomedes fights against the Trojans in the war.

Identify the speaker and context of the following quotation in Homer's epic.

Hector utters these words when Achilles hurls his spear to kill Hector and misses.

Study Guide for Iliad

Iliad study guide contains a biography of Homer, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Iliad
• Iliad Summary
• Character List
• Books 1-4 Summary and Analysis

Essays for Iliad

Iliad literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Iliad.

• To Obey or Disobey: The Role of Obedience in the Iliad and Genesis 1-25
• Criteria for Heroes
• The Success of King Priam's Request
• The Consistency of Cruelty in Combat
• Homeric Formalism

Lesson Plan for Iliad

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Iliad
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Iliad Bibliography

E-Text of Iliad

Iliad E-Text contains the full text of Iliad

• Books 13-16
• Books 17-20

Wikipedia Entries for Iliad

• Introduction

Heroism and Power in Homer’s “The Illiad” Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Rage of Gods Enslaves People: Relationships between Apollo and Agamemnon

Why is it so difficult to be a hero, works cited.

The Iliad is one of the most famous and educative epic poems created in the world of literature. Among a variety of themes disclosed in the poem, it is hard to define the one that deserves attention the most. Each theme and each message of the author is a unique possibility for the reader to learn the traditions which came from the past and the emotions which made different people act to change the world.

Each character in The Iliad performs a separate function and defines the development of the events in its way. In this paper, the conflict between the principle god of prophecy, Apollo, and the king of Mycenae, Agamemnon, will be discussed to evaluate how human actions and decisions may influence the lives of many people at the same time.

In The Iliad, the relations between two characters, Agamemnon and Apollo, as well as their motivation and passion help to underscore the theme of power and rage; the conflict between the characters is based on revenge, and both heroes prove that their activities and their ideas have powerful grounds to be recognized and respected; unfortunately, it is not always possible to control the conflicts which are developed between people, and if the relations between gods and humans are spoiled by conflict, it remains to be hard to control the whole life with its positive and negative aspects.

The conflict between Agamemnon and Apollo is based on rage, and this rage is different: on the one hand, it is Apollo, the god, who demonstrates his rage due to inabilities to control people and his desire to revenge to educate people and explain them their actual place; on the other hand, it is Agamemnon, the king, who cannot accept the idea that someone could resist his power and his greatness as soon as he wants it.

These two characters are the representatives of different worlds: “Agamemnon, son of Atreus, that king of men” and “Apollo, son of Zeus and Leto” (Homer, Johnson, and Johnson, p. 7); however, both of them have enough power to take control over the events, and both of them are ready to fight to prove their rights. The first book is devoted to the conflict that became the beginning of the end of the whole nation’s existence. The relations of the god and the kind are at the deadlock. These characters are motivated with a desire to gain power and recognition, still, people can’t choose at once whose power is more important, this is why it is not a surprise to observe the king and the god conflicting with each other.

The impossibility to create appropriate relations, they promote rage as the only way out that results in conflict with many death and misunderstandings. This is why in the first book, the relations between Apollo and Agamemnon as well as their motivation to use power against each other described clearly the idea of rage, its variety, and its impact on human lives which may be involved in the conflict.

The continuation of the conflict is observed during the whole poem, still, the climax of the conflict is properly defined in the 16 th book of The Iliad , where Apollo is described as the defender of Trojans, “the far-worker, loves his Trojans” (Homer, Johnson, and Johnson, p.343) and helps Hector to kill Patroclus. God’s rage is a significant issue in the poem. It explains how weak and uncertain people can be in case they do not contain the necessary power.

The chosen relations and the conflict between the god and the kind prove that humans as well as god’s rage may be of different forms. There is no pity in Apollo’s mind who “rained death down upon the troops” for about nine days (Homer, Johnson, and Johnson, p. 9). The relations between these two characters turn out to be a good example of how human emotions and feelings are weak regarding the power of gods.

There is only one way to stop human suffering, still, Agamemnon is not ready to take a step and admit his mistake. And Apollo, in his turn, “does not fault us [Danaans] for prayers or offerings… the archer god has brought disaster, and will bring still more” (Homer, Johnson, and Johnson, p. 10). The relations between gods and people are not equal, and even having a chance to change something, people cannot neglect their self-esteem.

The relationship between Agamemnon and Apollo turns out to be an educative issue in the book. It touches upon the theme of human and god’s rage that involves the whole nation into the conflict based on human inability to find alternatives. And the conflict between Agamemnon and Apollo as well as the motivation of the characters helps to disclose one of the main themes of the poem and prove that rage and power are the two things which can influence human lives, relations, and destinies in the most unpredictable ways.

There are several doubts and discussions around the question concerning heroism and the main traits of true heroes. It is interesting to know why some people are still defined as true heroes and some people cannot even realize the essence of heroism. The Iliad by Homer is a story about true heroes, worthwhile acts, and ideas that have been supported during a long period. Talking about the heroes in The Iliad , the character of Achilles has to be mentioned at first.

His actions, position, and motivation serve as the best evidence of why such a character may become a hero. And talking about the heroes in modern life, it is not always possible to define the main characteristics of heroism. To become a hero means to become an example for other people who observes the actions and try to follow the offered ideas; though Achilles may become a perfect example of a hero from the past, his image is not enough to define what can make a true hero in 2011, this is why, it is necessary to define his main traits and values to realize that even nowadays, there are the people whose actions worth recognition as the heroic ones.

The Heroic Code is a collection of principles under which people follow their own beliefs and demonstrate their courageous and deeds to meet a noble purpose. Achilles is introduced at the very beginning of the book as “Sing, Goddess, sing of the rage of Achilles, son of Peleus” (Homer, Johnson, and Johnson, p. 7). From the very first lines, it is clear that the role of this character is considered to be important in the poem.

It is not enough to introduce a hero, it is necessary to choose the most confident and powerful attributes for him like “noble”, “swift-footed”, and “godlike”. Each his phrase and thought has a meaning in the poem; his courageous deeds and unbelievable transformation to meet the needs of society prove that he can be a hero whole life experience will become educative for further generations.

One of the memorable quotes said by Achilles is the Book One is about the necessity to prove personal rights and demonstrate unbelievable courage to the enemy: “I fear we’re being beaten back, forced home,/ if we aren’t all going to be destroyed right here,/ with war and plague killing off Achaeans” (Homer, Johnson, and Johnson, p. 9). He is ready to fight against his fears; he is strong enough to explain that he may be defeated, still, he may encourage several people and help them to prove their dignity and their rights.

Is it possible to find heroes like Achilles in the modern world? Hardly! First, the conditions under which people have to live today have nothing in common with those under which Achilles lived. Even his courage cannot be taken as a standard under which a true hero may be defined. Nowadays, it is necessary to understand that “heroism should not be confused with strength and success… the hero must touch people’s emotions” (“Essay: On the Difficulty of Being a Contemporary Hero”, p.2).

Still, the components of the Heroic Code like courage, brave deeds, and peculiar transformations should never be neglected by modern heroes. Of course, there are different forms of such components which should be adopted by a new reality of 2011. Courage should be enough to take a step and understand that some transformations are needed; brave deeds should be used to prove that new ideas and heroic activities are obligatory in society; and finally, making some changes and improvements is the goal number one for all heroes in 2011.

Each person has his/her understanding of heroism and creates personal heroes regarding their interests and demands. It is a well-known fact that heroes are “different from those of any other society” (“Essay: On the Difficulty of Being a Contemporary Hero”, p. 2), this is why each nation and even each ethnical group should introduce its ideas of true heroes. It is obligatory to be a hero inside and be a worthwhile part of society so that people around could accept the offered image as the best example in their lives. And these examples, in their turn, become the required guides with the help of which life can be better and human satisfaction could be of high level.

“Essay: On the Difficulty of Being a Contemporary Hero”. Time U.S. 1966. Web.

Homer, Johnson, Ian, and Johnson, Ian, C. The Iliad . Arlington: RicherResourcesPublications, 2006.

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IvyPanda. (2020, December 28). Heroism and Power in Homer's "The Illiad". https://ivypanda.com/essays/heroism-and-power-in-homers-the-illiad/

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IvyPanda . 2020. "Heroism and Power in Homer's "The Illiad"." December 28, 2020. https://ivypanda.com/essays/heroism-and-power-in-homers-the-illiad/.

1. IvyPanda . "Heroism and Power in Homer's "The Illiad"." December 28, 2020. https://ivypanda.com/essays/heroism-and-power-in-homers-the-illiad/.

Bibliography

IvyPanda . "Heroism and Power in Homer's "The Illiad"." December 28, 2020. https://ivypanda.com/essays/heroism-and-power-in-homers-the-illiad/.

• Annotated Full Text
• Literary Period: Classical
• Publication Date: -750
• Flesch-Kincaid Level: 12
• Approx. Reading Time: 12 hours and 46 minutes

An epic poem written by the Greek poet Homer, the Iliad recounts the events of the final weeks of the Trojan War and the siege of the city of Troy after Helen of Sparta is kidnapped by the Trojan prince Paris. Homer’s Iliad is one of the oldest works known in Western literature and is typically dated back to some time in the 8th-century BCE, though its exact date of completion is speculative. The poem focuses on the quarrel between King Agamemnon, the leader of the Achaean (Greek) army, and the Greek hero Achilles, whose prowess in battle alters the course of the war. Agamemnon incurs the wrath of Achilles after claiming one of his concubines as his own, slighting the hero and resulting in Achilles’s withdrawing himself and his army from the Achaean forces completely. This departure puts the Achaean forces at a significant disadvantage, and the remainder of the story explores the effects of pride in the quest for glory. Through its portrayal of significant events in the Trojan War, the Iliad explores themes of mortality, glory, and fate while relating one of the most widely read and celebrated stories in history. The Iliad was followed closely by Homer’s Odyssey , which followed the hero Ulysses (also known as Odysseus,) on his journey home from the Trojan War, and inspired Virgil’s Aeneid , which follows the hero Aeneas on his journey to Italy.

Table of Contents

• Character Analysis
• Foreshadowing
• Historical Context
• Literary Devices
• Quote Analysis

Study Guide

• Homer Biography

Teaching Resources

• The Iliad Teaching Guide

116 pages • 3 hours read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Before You Read

Chapter Summaries & Analyses

Books 13-16

Books 17-20

Books 21-24

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

In the first stanza the poet refers to the Achaean deaths as “the will of Zeus […] moving toward its end” (77). Why does Zeus want to kill the heroes? What does he hope to achieve? Use at least three specific examples from the text to support your answer.

Examine the relationship between mortals and immortals. Draw on at least three specific interactions in your discussion.

What is the function of nature similes in the poem? Explore their meaning using at least three similes from the poem.

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