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Title: Homer, Iliad, and Odyssey


1
Homer, Iliad, and Odyssey
  • HOMER
  • Eighth century BCE

2
Review Minoan and Mycenaen
3
Review From Dark Age to Archaic Period
4
Classical Period to Alexander
5
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7
Greek literature begins with. . .
  • Greek literature begins with two masterpieces,
    the Iliad and Odyssey,
  • which cannot be accurately dated (the conjectural
    dates range over three centuries)
  • and which are attributed to the poet Homer, about
    whom nothing is known except his name.

8
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The blind bard Demodocus
  • The Greeks believed that he was blind, perhaps
    because the bard Demodocus in the Odyssey was
    blind and seven different cities put forward
    claims to be his birthplace.

10
Cithara/ Lyre
11
APOTHEOSIS OF HOMER By Ingres
12
Homer Oral Tradition
  • It was a blurred memory
  • (Homer does not remember the writing, for
    example, or the detailed bureaucratic accounting
    recorded on the tablets)
  • and this is easy to understand
  • some time in the last century of the millennium
    the great palaces were destroyed by fire.

13
Mycenaean wealth? the Dark Age
  • With them disappeared not only the arts and
    skills that had created Mycenaean wealth but even
    the system of writing.
  • For the next few hundred years the Greeks were
    illiterate and so no written evidence survives
    for what, in view of our ignorance about so many
    aspects of it, we call the Dark Age of Greece.

14
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15
Dolphin fresco
  • A detail of the restored Dolphin fresco on the
    wall of the Queens Room in the Minoan palace at
    Knossos.
  • The rosette pattern below the dolphins is
    typically Minoan and the whole fresco probably
    dates from the last phase of the New palace,
    around 1450-1400 BCE.

16
the Trojan War and Mycenaean Age
  • The stories told in the Homeric poems are set in
    the age of the Trojan War, which archeologists
    (those, that is, who believe that it happened at
    all) date to the twelfth century B.C.
  • Though the poems do preserve some faded memories
    of the Mycenaean Age, as we have them they
    probably are the creation of later centuries, the
    tenth to the eighth B.C., the so-called Dark Age
    that succeeded the collapse (or destruction) of
    Mycenaean civilization.

17
Iliad and the Ionian landscape
  • The Iliad contains several accurate descriptions
    of natural features of the Ionian landscape, but
    his grasp of the geography of mainland,
    especially western, Greece is unsure.

18
About to the age of writing
  • The two great epics that have made his name
    supreme among poets may have been fixed in
    something like their present form before the art
    of writing was in general use in Greece
  • it is certain that they were intended not for
    reading but for oral recitation.
  • The earliest stages of their composition date
    from around the beginnings of Greek literacythe
    late eighth century B.C.
  • The poems exhibit the unmistakable
    characteristics of oral composition.

19
the immense poetic reserve
  • Of course he could and did invent new phrases and
    scenes as he recitedbut his base was the immense
    poetic reserve created by many generations of
    singers who lived before him.
  • When he told again for his hearers the old story
    of Achilles and his wrath, he was recreating a
    traditional story that had been recited, with
    variations, additions, and improvements, by a
    long line of predecessors.

20
Magnificently ordered
  • The Iliad and Odyssey as we have them, however,
    are unlike most of the oral literature we know
    from other times and places.
  • The poetic organization of each of these two
    epics, the subtle interrelationship of the parts,
    which creates their structural and emotional
    unity, suggests that they owe their present form
    to the shaping hand of a single poet, the
    architect who selected from the enormous wealth
    of the oral tradition and fused what he took with
    original material to create, perhaps with the aid
    of the new medium of writing, the two
    magnificently ordered poems known as the Iliad
    and Odyssey.

21
The Iliad
  • Sing, goddess, the rage of Achilles the son of
    Peleus,the destructive rage that sent countless
    ills on the Achaeans...

22
Iliad
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    50?725??
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23
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    ?????????

24
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25
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    ???????????????????????????
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26
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27
The Achaeansthe Hellenes (Greeks), Danaans, and
Argives
  • Aias (Ajax the Greater) son of Telamon, with
    Diomedes, he is second to Achilles in martial
    prowess.
  • Aias (Ajax the Lesser) son of Oileus, often
    partner of Ajax the Greater.
  • Diomedes son of Tydeus, King of Argos.
  • Agamemnon King of Mycenae leader of the
    Greeks.
  • Achilles King of the Myrmidons.
  • Odysseus King of Ithaca the wiliest Greek
    commander, and hero of the Odyssey.
  • Menelaus King of Sparta husband of Helen.

28
The Trojan men
  • Priam the aged King of Troy.
  • Hector son of King Priam the foremost Trojan
    warrior.
  • Paris Helens lover-abductor.
  • Agenor a Trojan warrior who attempts to fight
    Achilles (Book XXI).
  • Dolona spy upon the Greek camp (Book X).
  • Antenor King Priams advisor, who argues for
    returning Helen to end the war Paris refuses.
  • Aeneas son of Anchises and Aphrodite.
  • Deiphobus brother of Hector and Paris.
  • Polydorus son of Priam and Laothoe.

29
The Trojan women
  • Hecuba Priams wife mother of Hector,
    Cassandra, Paris, and others.
  • Helen Menelauss wife espoused first to Paris,
    then to Deiphobus.
  • Andromache Hectors wife mother of Astyanax
  • Cassandra Priams daughter courted by Apollo,
    who bestows the gift of prophecy to her upon her
    rejection, he curses her, and her warnings of
    Trojan doom go unheeded.

30
Cassandra
  • In Greek mythology, Cassandra, "she who entangles
    men" also known as Alexandra) was the daughter
    of King Priam and Queen Hecuba of Troy. Her
    beauty caused Apollo to grant her the gift of
    prophecy. However, when she did not return his
    love, Apollo placed a curse on her so that no one
    would ever believe her predictions.

31
Painting by Evelyn De Morgan.
32
Ajax taking Cassandra, tondo of a red-figure
kylix by the , ca. 440-430 BC, Louvre
33
Cassandra 'syndrome
  • The Cassandra metaphor (variously labelled the
    Cassandra 'syndrome', 'complex', 'phenomenon',
    'predicament', 'dilemma', or 'curse'), is a term
    applied in situations in which valid warnings or
    concerns are dismissed or disbelieved.

34
Nostos homecoming
  • occurs seven times in the poem (II.155, II.251,
    IX.413, IX.434, IX.622, X.509, XVI.82)
  • thematically, the concept of homecoming is much
    explored in Ancient Greek literature, especially
    in the post-war homeward fortunes experienced by
    Atreidae, Agamemnon, and Odysseus (see the
    Odyssey), thus, nostos is impossible without
    sacking Troy King Agamemnons motive for
    winning, at any cost.

35
Richmond Lattimore translates
  • For my mother Thetis the goddess of silver feet
    tells meI carry two sorts of destiny toward the
    day of my death. Either,if I stay here and fight
    beside the city of the Trojans,my return home is
    gone, but my glory shall be everlastingbut if I
    return home to the beloved land of my
    fathers,the excellence of my glory is gone, but
    there will be a long lifeleft for me, and my end
    in death will not come to me quickly.

36
timê respect, honor
  • the concept denoting the respectability an
    honorable man accrues with accomplishment
    (cultural, political, martial), per his station
    in life.
  • In Book I, the Greek troubles begin with King
    Agamemnons dishonorable, unkingly behavior
    first, by threatening the priest Chryses (1.11),
    then, by aggravating them in disrespecting
    Achilles, by confiscating Bryseis from him
    (1.171).
  • The warriors consequent rancor against the
    dishonorable king ruins the Greek military cause.

37
Kleos glory, fame
  • is the concept of glory earned in heroic battle
  • for most of the Greek invaders of Troy, notably
    Odysseus, kleos is earned in a victorious nostos
    (homecoming), yet not for Achilles, he must
    choose one reward, either nostos or kleos.
  • In Book IX (IX.41016), he poignantly tells
    Agamemnons envoysOdysseus, Phoenix, Ajax
    begging his reinstatement to battle about having
    to choose between two fates (9.411).
  • Fame imperishable

38
The Wrath of Achilles
  • His personal rage and wounded soldiers vanity
    propel the story the Greeks faltering in
    battle, the slayings of Patroclus and Hector, and
    the fall of Troy. In Book I, the Wrath of
    Achilles first emerges in the Achilles-convoked
    meeting, between the Greek kings and Calchas, the
    Seer. King Agamemnon dishonours Chryses, the
    Trojan Apollonian priest, by refusing with a
    threat the restitution of his daughter, Chryseis
    despite the proffered ransom of gifts beyond
    count 12 the insulted priest prays his gods
    help and a nine-day rain of arrows falls upon
    the Greeks.

39
Zeuss divine intervention
  • After that, only Athena stays Achilles' wrath.
  • He vows to never again to obey orders from
    Agamemnon.
  • Furious, Achilles cries to his mother, Thetis,
    who persuades Zeuss divine intervention
    favouring the Trojansuntil Achilles' rights are
    restored.

40
Hector kills Patroclus.
  • Meanwhile, Hector leads the Trojans to almost
    pushing the Greeks back to the sea (Book XII)
  • later, Agamemnon contemplates defeat and retreat
    to Greece (Book XIV).
  • Again, the Wrath of Achilles turns the wars tide
    in seeking vengeance when Hector kills Patroclus.
  • Aggrieved, Achilles tears his hair and dirties
    his face Thetis comforts her mourning son

41
Moirae ? Fate, destiny
  • propels most of the events of the Iliad.
  • Once set, gods and men abide it, neither truly
    able nor willing to contest it.
  • How fate is set is unknown, but it is told by the
    Fates and Seers such as Calchas. Men and their
    gods continually speak of heroic acceptance and
    cowardly avoidance of ones slated fate.

42
Aeneas survives the Trojan War
  • Divinely-aided, Aeneas escapes the wrath of
    Achilles and survives the Trojan War.
  • Whether or not the gods can alter fate, they do
    abide it, despite its countering their human
    allegiances, thus, the mysterious origin of fate
    is a power beyond the gods.

43
the Three Fates
  • Fate implies the primeval, tripartite division of
    the world that Zeus, Poseidon, and Hades effected
    in deposing their father, Cronus, for its
    dominion.
  • Zeus took the Air and the Sky, Poseidon the
    Waters, and Hades the Underworld, the land of the
    dead yet, they share dominion of the Earth.
  • Despite the earthly powers of the Olympic gods,
    only the Three Fates set the destiny of Man.

44
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45
The Moirae, as depicted in a 16th century
tapestry
46
the three Moirae
  • Clotho ("spinner") spun the thread of life from
    her distaff onto her spindle.
  • Lachesis ("allotter" or drawer of lots) measured
    the thread of life allotted to each person with
    her measuring rod.
  • Atropos ("inexorable" or "inevitable", literally
    "unturning. sometimes called Aisa) was the
    cutter of the thread of life. She chose the
    manner of each person's death Her Roman
    equivalent was Morta ('Death').

47
Classical images illustrating the Iliad.
  • Repertory of outstanding painted vases, wall
    paintings and other ancient iconography of the
    War of Troy.
  • http//www.uark.edu/campus-resources/achilles/ilia
    d/iliad.html

48
Trojans and Greeks, illustration from the
Vergilius Romanus
49
Book One and Book Two
  • Book 1 After nine years of the Trojan War, King
    Agamemnon seizes Briseis, Achilless
    war-concubine, for having relinquished Chryseis
    dishonoured, Achilles wrathfully withdraws the
    gods argue the Wars outcome.
  • Book 2 Testing Greek resolve, Agamemnon feigns a
    homeward order Odysseus encourages the Greeks to
    pursue the fight see the Catalogue of Ships
    and the Catalogue of Trojans and Allies.

50
war
  • Of the two poems the Iliad is perhaps the
    earlier.
  • Its subject is war
  • its characters are men in battle and women whose
    fate depends on the outcome.

51
the Achaeans v.s. the Trojans
  • The war is fought by the Achaeans against the
    Trojans for the recovery of Helen, the wife of
    the Achaean chieftain Menelaus
  • the combatants are heroes who in their chariots
    engage in individual duels before the supporting
    lines of infantry and archers.
  • The comparison of Patroclus to an angler
    emphasizes another aspect of battle, its
    excitement.

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angler
  • ? noun  a fisherman who uses a hook and line?
    noun  a scheming person someone who schemes to
    gain an advantage? noun  fishes having large
    mouths with a wormlike filament attached for
    luring prey

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55
Hector
  • The great champion of the Trojans, Hector, fights
    bravely, but reluctantly.
  • War, for him, is a necessary evil, and he thinks
    nostalgically of the peaceful past, though he has
    little hope of peace to come.

56
Achilles slays Hector
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Hector and Achilles
  • We see Hector, as we do not see Achilles, against
    the background of the patterns of civilized
    lifethe rich city with its temples and palaces,
    the continuity of the family.
  • The duel between these two men is the inevitable
    crisis of the poem, and just as inevitable is
    Hectors defeat and death.

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60
Hectors death
  • At the climactic moment of Hectors death, as
    everywhere in the poem, Homers firm control of
    his material preserves the balance in which our
    contrary emotions are held
  • pity for Hector does not entirely rob us of
    sympathy for Achilles.

61
The Funeral of Hector
62
War and Peace
  • This tragic action is the center of the poem, but
    it is surrounded by scenes that remind us that
    the organized destruction of war, though an
    integral part of human life, is still only a part
    of it.
  • The yearning for peace and its creative
    possibilities is never far below the surface.

63
The Shield of Achilles
64
  • These two poles of the human conditionwar and
    peace, with their corresponding aspects of human
    nature, the destructive and the creativeare
    implicit in every situation and statement of the
    poem, and they are put before us, in symbolic
    form, in the shield that the god Hephaestus makes
    for Achilles, with its scenes of human life in
    both peace and war.
  • Whether these two sides of life can ever be
    integrated, or even reconciled, is a question
    that the Iliad raises but cannot answer.

65
Hephaestus
  • a Greek god whose Roman equivalent was Vulcan.
  • He was the god of technology, blacksmiths,
    craftsmen, artisans, sculptors, metals,
    metallurgy, fire and volcanoes.
  • Hephaestus was lame, which gave him a grotesque
    appearance in Greek eyes.
  • He served as the blacksmith of the gods, and he
    was worshipped in the manufacturing and
    industrial centers of Greece, particularly in
    Athens. The center of his cult was in Lemnos.

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Mentor
  • Mentor  was an old friend of Odysseus. To him
    Odysseus entrusted his household when he joined
    the coalition that sailed against Troy.
  • Athena, assuming several times the shape of
    Mentor , became the guide of Odysseus' son
    Telemachus, giving him prudent counsel. Since
    then, wise and trusted advisers have been called
    "mentors".

77
Telemachus and Mentor
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79
http//classics.mit.edu/Homer/iliad.html
  • The Iliad By Homer Written 800 B.C.E
    Translated by Samuel Butler
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