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[[Image:Achilles-chiron.jpg|thumb|Achilles and Chiron the Centaur]] The ''Iliad'' (a song about Ilium, or Troy) along with its companion [[Epic Poetry|epic]] the <i>[[Odyssey]]</i> form the foundation of ancient Greek culture and address the extremes of human experience through war and peace. Both [[Epic Poetry|epic]] are primary, or oral, [[Epic Poetry|epic]] that draw on an enormous wealth of cultural stories in unified structures that we attribute to the poet [[Homer]], in eighth century B.C.E. The [[Epic Poetry|epic]] are written in an unsentimental style: the ''Iliad'' depicts the ambivalence of war in meticulously accurate details. Both the nightmare of war and its excitement find expression in the ''Iliad'', just as the <i>[[Odyssey]]</i>’s pages quest for a home, or a peace that seems hard-won after the devastation of war.
[[Image:Achilles-chiron.jpg|thumb|Achilles and Chiron the Centaur]] The ''Iliad'' (a song about Ilium, or Troy) along with its companion [[Epic Poetry|epic]] the <i>[[Odyssey]]</i> form the foundation of ancient Greek culture and address the extremes of human experience through war and peace. Both [[Epic Poetry|epic]] are primary, or oral, [[Epic Poetry|epic]] that draw on an enormous wealth of cultural stories in unified structures that we attribute to the poet [[Homer]], in eighth century B.C.E. The [[Epic Poetry|epic]] are written in an unsentimental style: the ''Iliad'' depicts the ambivalence of war in meticulously accurate details. Both the nightmare of war and its excitement find expression in the ''Iliad'', just as the <i>[[Odyssey]]</i>’s pages quest for a home, or a peace that seems hard-won after the devastation of war.


==The Epic Theme==
As the narrator states first thing: the subject of the ''Iliad'' is the rage of [[Achilles]] and the consequences of that rage for both the Achaeans and the Trojans. War effects not only the men who fight the battles, but also the women and children whose lives are then shaped by its outcome. War represents the worst and, ironically, the best of humanity: ugly brutality and terrible beauty. We both pity with [[Hector]] and sympathize with [[Achilles]]; neither side of the war holds all of our sentiments. The final outcome of the war, then, becomes truly tragic: only one culture can continue while the other is destroyed or enslaved.
As the narrator states first thing: the subject of the ''Iliad'' is the rage of [[Achilles]] and the consequences of that rage for both the Achaeans and the Trojans. War effects not only the men who fight the battles, but also the women and children whose lives are then shaped by its outcome. War represents the worst and, ironically, the best of humanity: ugly brutality and terrible beauty. We both pity with [[Hector]] and sympathize with [[Achilles]]; neither side of the war holds all of our sentiments. The final outcome of the war, then, becomes truly tragic: only one culture can continue while the other is destroyed or enslaved.
The ''Iliad''’s participants are the nobility of both cultures, or the ''aristoi'': “the best people.” They are the hereditary holders of wealth and power, and their decisions effect all of the culture. For example, [[Agamemnon]]’s decision to infuriate [[Achilles]] at the outset of the ''Iliad'' has lasting effects on the Greek warriors during the last weeks of the Trojan War. Like most [[Epic Poetry|epic]], of which the ''Iliad'' is really the definitive example, the action begins <i>[[in medias res]]</i>, a few weeks before the end of a ten-year campaign, with all of the [[Epic Poetry|epic]]’s traditional accouterments. The ''Iliad'' poses questions, as will the <i>[[Odyssey]]</i>, about the nature of political order and what humans must do to maintain that vision and structure. The initial contention in the ''Iliad'' is between the Greek champion [[Achilles]] and the Greek commander [[Agamemnon]]. Who has the stronger claim to right: [[Agamemnon]] who has the hereditary position, or [[Achilles]], the one with merit? Ultimately does it matter? When swords are drawn, reason becomes irrelevant.
In book one of the ''Iliad'', we discover that because of [[Agamemnon]]’s refusal to relinquish Chryseis, [[Apollo]] has rained a plague upon the Achaean forces. Because he is eventually challenged by [[Achilles]] — who represents the wishes of the rest of the men — [[Agamemnon]] decides to claim [[Achilles]]’ prize (a girl named Briseis) to reassert his authority and put [[Achilles]] in his place for his challenge. [[Achilles]] shows cunning and restraint — qualities that are usually associated with [[Odysseus]] — in his argument with [[Agamemnon]], while the latter rages and rails like a wounded child. Yet, when [[Agamemnon]]’s men take Briseis, [[Achilles]], also child-like, begins to pout by his ships, cries to his mother, and refuses to play the war game anymore. This final decision precipitates the death of many Achaeans, including [[Achilles]]’ friend [[Patroclus]]. [[Achilles]]’ resulting rage ends with the death of [[Hector]] in book twenty-two, and [[Achilles]]’ own apocryphal death under the bow of [[Paris]] before the war’s end.


The brutality of [[Achilles]] and its consequences are most evident in Book XXII of the ''Iliad''. [[Achilles]]’ rage blinds him to anything but the death of [[Hector]], the Trojan champion that kills [[Patroclus]]. Replete with [[Epic Poetry|epic]] [[simile|similes]] of the hunt, book twenty-two illustrates [[Hector]]’s own reluctance to do what he sees as his duty to face [[Achilles]], yet thinks only of himself and what his people might think if he doesn’t face the Greek killing machine (cf. ll. 108-156). [[Hector]]’s resolve is soon shaken as he sees [[Achilles]] closing, bloody rage the only thing that [[Achilles]] sees. [[Hector]] flees, but is soon tricked by [[Athena]] into stopping to face [[Achilles]], perhaps a commentary on [[Hector]]’s need for companionship and [[Achilles]]’ desire for only personal vengeance and renown. [[Hector]] is mercilessly murdered in front of Troy’s walls, like a fawn at the jaws of a lion.
The brutality of [[Achilles]] and its consequences are most evident in Book XXII of the ''Iliad''. [[Achilles]]’ rage blinds him to anything but the death of [[Hector]], the Trojan champion that kills [[Patroclus]]. Replete with [[Epic Poetry|epic]] [[simile|similes]] of the hunt, book twenty-two illustrates [[Hector]]’s own reluctance to do what he sees as his duty to face [[Achilles]], yet thinks only of himself and what his people might think if he doesn’t face the Greek killing machine (cf. ll. 108-156). [[Hector]]’s resolve is soon shaken as he sees [[Achilles]] closing, bloody rage the only thing that [[Achilles]] sees. [[Hector]] flees, but is soon tricked by [[Athena]] into stopping to face [[Achilles]], perhaps a commentary on [[Hector]]’s need for companionship and [[Achilles]]’ desire for only personal vengeance and renown. [[Hector]] is mercilessly murdered in front of Troy’s walls, like a fawn at the jaws of a lion.
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Is war, then, a necessary component of human life? Just because it has been historically up until this point, are we to be like [[Achilles]] who could not hear reason through his bloody thoughts: “No truce / till one or the other falls and gluts with blood” (XXII.313-14)? When do we decide that war is better than order?
Is war, then, a necessary component of human life? Just because it has been historically up until this point, are we to be like [[Achilles]] who could not hear reason through his bloody thoughts: “No truce / till one or the other falls and gluts with blood” (XXII.313-14)? When do we decide that war is better than order?
== Summary ==
In book one of the ''Iliad'', we discover that because of [[Agamemnon]]’s refusal to relinquish Chryseis, [[Apollo]] has rained a plague upon the Achaean forces. Because he is eventually challenged by [[Achilles]] — who represents the wishes of the rest of the men — [[Agamemnon]] decides to claim Achilles’ prize (a girl named Briseis) to reassert his authority and put Achilles in his place for his challenge. Achilles shows cunning and restraint — qualities that are usually associated with [[Odysseus]] — in his argument with [[Agamemnon]], while the latter rages and rails like a wounded child. Yet, when [[Agamemnon]]’s men take Briseis, [[Achilles]], also child-like, begins to pout by his ships, cries to his mother, and refuses to play the war game anymore. This final decision precipitates the death of many Achaeans, including Achilles’ friend [[Patroclus]]. Achilles’ resulting rage ends with the death of [[Hector]] in book twenty-two, and Achilles’ own apocryphal death under the bow of [[Paris]] before the war’s end. See more in [[The Iliad Summary]].


== Characters ==
== Characters ==
The ''Iliad''’s participants are the nobility of both cultures, or the ''aristoi'': “the best people.” They are the hereditary holders of wealth and power, and their decisions effect all of the culture. For example, [[Agamemnon]]’s decision to infuriate [[Achilles]] at the outset of the ''Iliad'' has lasting effects on the Greek warriors during the last weeks of the Trojan War. Like most [[Epic Poetry|epic]], of which the ''Iliad'' is really the definitive example, the action begins <i>[[in medias res]]</i>, a few weeks before the end of a ten-year campaign, with all of the [[Epic Poetry|epic]]’s traditional accouterments. The ''Iliad'' poses questions, as will the <i>[[Odyssey]]</i>, about the nature of political order and what humans must do to maintain that vision and structure. The initial contention in the ''Iliad'' is between the Greek champion [[Achilles]] and the Greek commander [[Agamemnon]]. Who has the stronger claim to right: [[Agamemnon]] who has the hereditary position, or [[Achilles]], the one with merit? Ultimately does it matter? When swords are drawn, reason becomes irrelevant.
=== Achaeans ===
=== Achaeans ===
* [[Achilles]]
* [[Achilles]]
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* [[Odysseus]]
* [[Odysseus]]
* [[Patroclus]]
* [[Patroclus]]
=== Mates of Helen and Clytemnestra ===
Agamemnon and Menelaus were sons of King Atreus. Agamemnon married the sister of Helen, Clytemnestra while
the brother of Agamemnon, Menelaus, married Helen of Sparta.  Menelaus and Agamemnon were not only brothers but brothers-in-law, just as Helen and Clytemnestra were not only (half) sisters, but sisters-in-law.  (Gill, N.S., http://ancienthistory.about.com)
=== Paris and Helen of Troy ===
Paris was the son of King Priam of Troy and his queen, Hecuba. "He was rejected at birth, and raised as a shepherd on Mt. Ida. While living the life of a shepherd, the three goddesses, Hera, Aphrodite, and Athena, appeared to him asking him to award the "fairest" of them the golden apple that Discord had promised one of them. Each goddess offered Paris a bribe, but the bribe offered by Aphrodite appealed to Paris most, so Paris awarded the apple to Aphrodite. Aphrodite had offered Paris the most beautiful woman as bride. This woman was Helen. Unfortunately, Helen was the bride of Menelaus."  (Gill, N.S., http://ancienthistory.about.com)
This all professed further as Paris visited the court of Menelaus in Sparta as a guest.  There Paris encountered Helen and ran off with her back to Troy.  Thus beginning the Trojan War. Helen of Sparta became Helen of Troy.  (http://www.bullfinch.org)


=== Trojans ===
=== Trojans ===
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* [[Paris]]
* [[Paris]]
* [[Priam]]
* [[Priam]]
=== The Gods ===
* [[Apollo]]
* [[Athena]]


== Internal Links ==
== Internal Links ==
* [[Homer]]
* [[Homer]]
* [[The Iliad Summary]]
* [[The Iliad Summary]]
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* [http://litmuse.maconstate.edu/~glucas/archives/000456.shtml Fighting Beyond Their Fates]
* [http://litmuse.maconstate.edu/~glucas/archives/000456.shtml Fighting Beyond Their Fates]
* [http://litmuse.maconstate.edu/~glucas/archives/000297.shtml Friendship and Two Epics]
* [http://litmuse.maconstate.edu/~glucas/archives/000297.shtml Friendship and Two Epics]
== Suggested Reading ==


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[[Category:World Literature]]
[[Category:World Literature]]
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