Iliad Questions and Answers - Discover the hidden-facts.info community of teachers, mentors and How does Homer portray the relationship between gods and humans? . In the Iliad, what qualities of Hector and Andromache are revealed?. Poor, doomed Andromache of Thebes, the wife of Prince Hector and the mother of Astyanax, has a small but vital and tragic role in the epic poem by. Conversely, characters who appear to have a harmonious relationship to one In a famous scene between Hector and Andromache in Book 6, Andromache . the conflict between these two spouses dramatizes larger issues for the story of.
In this scene, the unusual reply formula for Hera accurately reflects not only the general context of this episode the seduction of Zeus but the content of the particular speech in question. Agamemnon uses it when he is relating a different occasion on which Zeus was deceived at the hands of his wife Iliad Agamemnon tells this story in the assembly in Book 19 as a sort of explanation or apology for his own misconduct toward Achilles.
His basic point is that if Zeus can be deceived, what hope is there for mere mortals? In the story Agamemnon tells Zeus thinks this will mean Hercules, naturally enough, but in fact Hera stays the labor of Alcmene and brings Eurystheus prematurely into the world. Come, then, lord of Olympos, and swear before me a strong oath that he shall be lord over all those dwelling about him who this day shall fall between the feet of a woman, that man who is born of the blood of your generation.3 Important Relationship Questions to Ask When Dating - Engaged at Any Age
And Zeus was entirely unaware of her falsehood. In addition, it reminds the audience that it was Zeus, the powerful head of the Olympic pantheon, whom Hera tricked, just as she did in Book In a larger sense, the conflict between these two spouses dramatizes larger issues for the story of the Iliad: Spouses in the Iliad, unlike spouses in the Odyssey, are in important ways not on the same wavelength. This point comes home more dramatically and effectively because it is represented through conversation, a basic kind of cooperative social interaction.
By way of comparison, the context-specific participles listed in Appendix II almost never modify the same character more than once in the same scene.
In both scenes where this is the case, the character in question has reached a fever pitch of battlefield rage, and so the repetition of a formula that normally conveys a peak of anger is appropriate Achilles in Iliad 22 [ and ] and Odysseus in Odyssey 22 [34 and 60, which have different addressees]. Moreover, in neither of these scenes does the context-specific participle occur in two successive turns for the same speaker during a one-on-one conversation.
Book 24 This chapter closes with part of the conclusion of the Iliad, namely the meeting between Priam and Achilles in Book 24, where one-on-one conversation once again plays a significant role.
The elaborations in this conversation are constructed much like those we have seen in the important reunions in the Odyssey. As in the Odyssey, these elaborations and the conversation overall draw out a key aspect of the conversation that also has a significant role in the story of the Iliad overall. However, the particular idea that this conversation emphasizes differs substantially from the issues of concealment that underlie the Odyssey.
This conversation, after which we bid farewell to Achilles, depicts simultaneously the emotional spectacle of two implacable enemies meeting on the common ground of filial relations, and the depth of the underlying hatred between them, which is overcome only temporarily and incompletely by this fleeting moment of mutual understanding and emotional release.
This shows the essential similarity of the conversational type and its aesthetic possibilities in the Iliad and the Odyssey, but the very different thematic interests of the two poems. Some critics of the poem have called its final book a later composition, often by a supposed younger poet who also composed the Odyssey or some sections of it.
That being the case, the aim of this analysis is to discuss the effects of this well-loved and thoroughly studied scene as one example of the overall system of type scenes and aesthetics that are the subject of this study.
As Edwards says in his brief remarks on Book 24, It may be thought. But the effect is produced by art, and the techniques of that art are not simple; and a careful study of the choices the poet has made, the allusions that lie in the background, and the appropriateness of the treatment of traditional motifs will probably, for most readers, further enrich their appreciation of this superb episode.
It also provides a way to stretch out the journey in the poem. Most journeys, in contrast, pass very quickly in the narrative, with little attempt to represent the passage of story time in the text. Once Priam arrives, however, the simile that precedes his supplication to Achilles encompasses the perspectives of both Achilles and Priam.
At the same time, it inverts key aspects of the scene in which it appears. The last extended simile of the Iliad uses such a reversal to describe the amazement of Achilles when Priam suddenly appears in his camp to ransom the body of Hector: As when dense disaster closes on one who has murdered a man in his own land, and he comes to the country of others, to a man of substance, and wonder seizes on those who behold him, so Achilleus wondered as he looked on Priam, a godlike man, and the rest of them wondered also, and looked at each other.
But now Priam spoke to him in the words of a suppliant: However, the subject of the verses immediately preceding the simile is not Achilles, but Priamand his behavior as he supplicates Achilles by touching his knees and kissing his hands. These hands receive particular emphasis as both the first and the last word of verse They are modified by an adjectival relative clause in adding enjambment [ 26 ] that emphasizes the terrible suffering Priam has endured because of the hands he is now kissing: In addition, the syntactical construction here allows us to imagine an alternative version of the passage that omits verse and its affecting details about just what these hands of Achilles have done that Priam is now kissing.
Both Priam and Achilles in their different ways resemble the man in the simile who has killed another man and flees his homeland to seek asylum elsewhere. However, the language at the beginning of the simile discourages an audience from identifying this man too closely with either Priam or Achilles. This means that while the vignette in the simile has points of similarity with both characters, the language prevents too strong an identification with either.
The supplication described in the simile also points forward to the supplication that Priam is about to make to Achillesdrawing out the importance of the idea of suppliancy for the scene as a whole.
Moreover, the speech introduction itself rewards further scrutiny, insofar as it displays a noteworthy variation on common initial formula patterns. In one of the most moving speeches in the Iliad, Priam begs Achilles to accept ransom for the dead Hector. His speech focuses on many of the same ideas as the surrounding speech frames, and in some cases even use the same language as the speech frames. Priam appeals to Achilles based on his memory for and emotional attachment to his own father, a feeling through which Priam links himself to his enemy.
The sound of their mourning moved in the house.
Then when great Achilleus had taken full satisfaction in sorrow and the passion for it had gone from his mind and body, thereafter he rose from his chair, and took the old man by the hand, and set him on his feet again, in pity for the grey head and the grey beard, and spoke to him and addressed him in winged words: That reply formula would admit various participles to describe the emotion of Achilles if that were the sole purpose of this extended passage of narration.
This grief, we are told once again, arises from the fact that Achilles is a son, Priam is a father, and both feel common emotions when remembering the father or son from whom they are separated. Some of the elaborations here are themselves longer or unusual versions of formulas that occur in different forms elsewhere in the Homeric epics, which increases the emphasis here even further.
The passage begins with a formulaic speech conclusion, something that rarely appears between two speeches in an ongoing one-on-one conversation Following the speech conclusion, the grief of both men as they remember a son and father respectively is described in vivid detail.
The picture of the two mourning men in has points in common with a simile, including the repetition in verses of vocabulary found in the speech immediately preceding the description: These form a connected group of words evoking the themes of memory and loss in a manner analogous to what would occur in a simile.
In addition, this set of vocabulary strongly evokes the language of formal lament for a loved one. We have already seen each man lament over the body of a beloved friend or child; [ 35 ] now we see them share this grief with one another, bridging the gulf between the two enemies.
This description of the memory, grief and bereavement of both men together and not simply Priam alone marks the emotional peak of the scene. After this, Achilles begins to calm down. At the same time, the description in the speech frames shows the perspective of Achilles alone rather than describing the feelings of both Achilles and Priam.
Chapter 3. One-on-one Conversations (Iliad)
This elongates the emotional decrescendo here, helping the audience to experience the gradual ebbing of terrible sorrow along with the characters. This detail makes the scene vivid to an audience and gives Priam life as an old man rather than e.
It is, in fact, an extended version of a pattern of speech introductory language which is itself an extended version of single-verse speech introductions.
Let us now review the overall structure of this impressive passage. It contains a sequence of speech conclusionpassage amplifying the conclusionand speech introduction A complex interrelated series of elaborations transforms this moment from an ordinary transition between speeches to a finely wrought vignette of two lonely and bereaved enemies who briefly find common ground in their shared grief.
At the same time, the enmity of the two heroes and of their respective peoples is never forgotten. Even at the height of their emotion, these two men remain enemies.
Andromache - Wikipedia
Their moment of mutual harmony and understanding derives some of its force from the constant awareness that it is temporary, and that the hostilities that will destroy both Achilles and Priam will resume all too soon.
Conclusions Overall, the Iliad contains few one-on-one conversations that are particularly elaborate, further emphasizing the meeting between Priam and Achilles. The Odyssey, on the other hand, contains many elaborate conversations. These conversations make use of the same kinds of techniques for elaboration that we have observed in the Iliad: Role in mourning her husband[ edit ] Andromache's gradual discovery of her husband's death and her immediate lamentation In accordance with traditional customs of mourning, Andromache responds with an immediate and impulsive outburst of grief goos that begins the ritual lamentation.
Although Andromache adheres to the formal practice of female lamentation in Homeric epic,  the raw emotion of her discovery yields a miserable beginning to a new era in her life without her husband and, ultimately, without a home.
Duties As Wife[ edit ] In Iliad 22, Andromache is portrayed as the perfect wife, weaving a cloak for her husband in the innermost chambers of the house and preparing a bath in anticipation of his return from battle Here she is carrying out an action Hector had ordered her to perform during their conversation in Iliad 6 6.
Traditional gender roles are breached as well, as Andromache gives Hector military advice 6. Although her behavior may seem nontraditional, hard times disrupts the separate spheres of men and women, requiring a shared civic response to the defense of the city as a whole. Andromache's role as a mother, a fundamental element of her position in marriage, is emphasized within this same conversation. Their infant son, Astyanax, is also present at the ramparts as a maid tends to him. Hector takes his son from the maid, yet returns him to his wife, a small action that provides great insight into the importance Homer placed on her care-taking duties as mother 6.
A bonding moment between mother and father occurs in this scene when Hector's helmet scares Astyanax, providing a moment of light relief in the story. After Hector's death in Iliad 22, Andromache's foremost concern is Astyanax's fate as a mistreated orphan In his Andromache, Euripides dramatizes when she and her child were nearly assassinated by Hermionethe wife of Neoptolemus and daughter of Helen and Menelaus.
Andromache is the subject of a opera by German composer Herbert Windt and also a lyric scena for soprano and orchestra by Samuel Barber.