For the culture of the Greeks was, and still is, a song culture. When Diomedes and Glaukos come upon one another in the open field ready for combat, they discover that they are friends and restrain from battle as Diomedes says to Glaukos, I am your friend, sworn friend, in central Argos.
The Odyssey adds much more, especially about the so-called Epic Cycle. The Iliad seems to make up for its avoidance of details concerning the sacrifices of animals by dwelling on details concerning the martial deaths of heroes. For they counterbalance each other throughout their vast stretches of narrative, in a steady rhythmic flow of verses, lines called dactylic hexameters the Iliad contains over 15, lines and the Odyssey, over 12, Diomedes and Glaukos uncover the past friendship that their grandfathers had made and decide that there will be many other enemies to bring down.
Patroklos says to his friend after appealing with him to rejoin the war and failing, If in your heart you fear some oraclethen send me out at leastand I may be a beacon to Danaans! The third and final of the three is the Code of Household. But even beyond the song culture, beyond Greek civilization, the epic lives on even in our time, and the wonder of it all is that one of its heroes himself foretold it.
For the Greeks of the fifth century BCE and thereafter, the Iliad and Odyssey, these two seemingly all-inclusive and symmetrical songs, were the creation of the Master Singer called Homer, reputed to have lived centuries earlier.
The difference, however, is that for them, the pathos of Hektor resembles most closely the pathos of Achilles himself. As we recall the detail about the institutionalized weeping of the local women at the commencement of the Olympics, we may note that this act of weeping was considered an act of singing - or keening.
Few today feel empathy for his sorrow, which the hero of the Iliad himself describes as an everlasting one. What, then, were the heroes of the Iliad? And at the end of the epic, the goddess Athene ensures that no revenge is taken on behalf of the suitors, that the cycle of violence ends with their death: The performer describes himself as he gazes down upon a sea of faces in the audience, all eyes reacting simultaneously to his Homeric song.
But the Greek attitude towards death at the time was clearly evident in both, and the treatment of death in both epics shows this. It is the history of Greek civilization, then, that the Homeric Iliad and Odyssey define.
And the story can end as well. The Greek word conveys a religious dimension that is completely absent in the English word that is derived from it. Homer writes that, Patroklos went to bed at the other end, and with him, too, a woman laysoft-belted Iphis, who had been given to him by Akhilleus when he took Skyros On the mortal plane, death is an inevitability, but the way that death comes about is usually but for fate up for each person to determine by their choices and actions.
In both epics, death by sea is decidedly not preferable; both feature the major character explicitly stating their desire to die in any other fashion.
Not that the Iliad calls them Greeks. When away in combat, the Greeks are still able to maintain honor and great valor by upholding their Code of Battle. In the case of Homer, we do not even have this much to start with, at least not in the Iliad or the Odyssey: This case shows that amidst a war the Code of Battle holds strong that despite being on opposing sides friends are not to engage one another in combat.
The fragmentation of Greece in this era was so pronounced that, looking back, it is hard to find genuine instances of cultural cohesion. When the god Ares goes through the motions of death after he is taken off guard and wounded by the mortal Diomedes in Scroll 5 of the Iliad, we detect a touch of humor in the Homeric treatment of the scene, owing to the fact that this particular "death" is a mock death.
It even features the story of the Trojan Horse in viii. The first of the three is the Code of Hospitality, which requires the host to provide every need and desire for his guests. How people worshipped any given god, as we know from the historical evidence of the Classical era and thereafter, differed dramatically from one city-state to another.
Like Paris of Troy, in stealing the wife of his host Menelaos, violated the rules of hospitality, so too did the suitors of Penelope, and the consequences for the offenders are brutal.
This example shows how much respect the fighters have for their fallen comrades as they enter a respite in order to hold proper burial for their deceased.
The symmetry of these two monumental compositions, the Iliad and Odyssey, goes beyond their strict adherence to the rules of introducing an ancient Greek song.
And so the gods decided to hand over that worthy man, dead as he was, to the songs of the goddesses. However Patroklos shows supreme loyalty to Akhilleus as he ultimately offers his life in combat when he dons on Akhilleus armor to fight in Akhilleus place.
At a climactic point of the battle, Hektor shouts out to his men: Nor do we have much better luck with Hesiod, except perhaps for whatever the singer says about himself in his own two songs.Study Help Essay Questions Bookmark this page Explain the clash of values symbolized in the fight between Achilles and Hektor.
9. How does Achilles change over the course of the poem? Patroklos Agamemnon Odysseus Nestor Hektor. Patroklos and Hektor essays Patroklos and Hektor are victims of war and internal, delusional passion. Their deaths are intertwined, as they are both the causualties of Achilles lack of spirit or internal death.
The deaths of these two men help to illistrate Homers outlook on war. These two men ar. Emily Johnson Prof.
Foley 12/8/14 Term Paper The Myth of Achilles The myth of Achilles, In Homers epic, The Iliad, hurling down to the House of Death so many sturdy souls, great fighters’ souls, but made their bodies carrion, feasts for the dogs and birds, and the will of Zeus was moving toward its end.
A Paper on Homer’s Fighters Patroklos and Hektor ( words, 1 pages) Patroklos and Hektor ultimedescente.com Patroklos and Hektor are victims of war and internal, delusional passion. Their deaths are intertwined, as they are both the causualties of Achilles lack of spirit or internal death.
Jan 27, · Reviews: The Iliad and the Odyssey. his wife got to him before I could), Patroklos, Hektor, and a portrayal of war that was surprisingly even-handed made the play worth it. Although if I never hear the phrase “and his armour clattered upon him” again, it will be too soon.
@pwgfrank not one but TWO Handsome Homers from. Honor & Glory in the Iliad: Life After Death Paper 1 Cheryl Texin 21h Rec: F2 Achilles and Hektor are noted as great fighters, and both of them greatly affect a battle with their presence. Achilles’ decision to abstain from .Download