Iliad SparkNotes Literature Guide: Volume 35 (SparkNotes Literature Guide Series)

Product Information

Arrived at Cumae, he frequented the _converzationes_(6) of the old men, and delighted all by the charms of his poetry. Encouraged by this favourable reception, he declared that, if they would allow him a public maintenance, he would render their city most gloriously renowned. They avowed their willingness to support him in the measure he proposed, and procured him an audience in the council. Having made the speech, with the purport of which our author has forgotten to acquaint us, he retired, and left them to debate respecting the answer to be given to his proposal. He said, and sat: when Chalcas thus replied; Chalcas the wise, the Grecian priest and guide, That sacred seer, whose comprehensive view, The past, the present, and the future knew: Uprising slow, the venerable sage Thus spoke the prudence and the fears of age: A theme in The Iliad closely related to the glory of war is the predominance of military glory over family. The text clearly admires the reciprocal bonds of deference and obligation that bind Homeric families together, but it respects much more highly the pursuit of kleos, the “glory” or “renown” that one wins in the eyes of others by performing great deeds. Homer constantly forces his characters to choose between their loved ones and the quest for kleos, and the most heroic characters invariably choose the latter. Andromache pleads with Hector not to risk orphaning his son, but Hector knows that fighting among the front ranks represents the only means of “winning my father great glory.” Paris, on the other hand, chooses to spend time with Helen rather than fight in the war; accordingly, both the text and the other characters treat him with derision. Achilles debates returning home to live in ease with his aging father, but he remains at Troy to win glory by killing Hector and avenging Patroclus. The gravity of the decisions that Hector and Achilles make is emphasized by the fact that each knows his fate ahead of time. The characters prize so highly the martial values of honor, noble bravery, and glory that they willingly sacrifice the chance to live a long life with those they love. Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts. The Achaean Ships

CliffsNotes Book I - CliffsNotes

The critic eye--that microscope of wit Sees hairs and pores, examines bit by bit, How parts relate to parts, or they to whole The body's harmony, the beaming soul, Are things which Kuster, Burmann, Wasse, shall see, When man's whole frame is obvious to a flea.'"(19) The time of two-and-twenty days is taken up in this book: nine during the plague, one in the council and quarrel of the princes, and twelve for Jupiter's stay with the Ćthiopians, at whose return Thetis prefers her petition. The scene lies in the Grecian camp, then changes to Chrysa, and lastly to Olympus.For Chryses sought with costly gifts to gain His captive daughter from the victor's chain. Suppliant the venerable father stands; Apollo's awful ensigns grace his hands By these he begs; and lowly bending down, Extends the sceptre and the laurel crown He sued to all, but chief implored for grace The brother-kings, of Atreus' royal race(46)

The Iliad: Symbols | SparkNotes The Iliad: Symbols | SparkNotes

He spoke; and furious hurl'd against the ground His sceptre starr'd with golden studs around: Then sternly silent sat. With like disdain The raging king return'd his frowns again. Having thus given some general notion of the strange theories which have developed themselves respecting this most interesting subject, I must still express my conviction as to the unity of the authorship of the Homeric poems. To deny that many corruptions and interpolations disfigure them, and that the intrusive hand of the poetasters may here and there have inflicted a wound more serious than the negligence of the copyist, would be an absurd and captious assumption, but it is to a higher criticism that we must appeal, if we would either understand or enjoy these poems. In maintaining the authenticity and personality of their one author, be he Homer or Melesigenes, _quocunque nomine vocari eum jus fasque sit,_ I feel conscious that, while the whole weight of historical evidence is against the hypothesis which would assign these great works to a plurality of authors, the most powerful internal evidence, and that which springs from the deepest and most immediate impulse of the soul, also speaks eloquently to the contrary.Here on the monarch's speech Achilles broke, And furious, thus, and interrupting spoke: "Tyrant, I well deserved thy galling chain, To live thy slave, and still to serve in vain, Should I submit to each unjust decree:-- Command thy vassals, but command not me. Seize on Briseis, whom the Grecians doom'd My prize of war, yet tamely see resumed; And seize secure; no more Achilles draws His conquering sword Glaucus told Homer what had taken place, and bade him follow him, assuring him that good fortune would be the result. Conversation soon showed that the stranger was a man of much cleverness and general knowledge, and the Chian persuaded him to remain, and to undertake the charge of his children.(11) It was at this period, about four hundred years after the war, that a poet flourished of the name of Melesigenes, or Moeonides, but most probably the former. He saw that these ballads might be made of great utility to his purpose of writing a poem on the social position of Hellas, and, as a collection, he published these lays, connecting them by a tale of his own. This poem now exists, under the title of the 'Odyssea.' The author, however, did not affix his own name to the poem, which, in fact, was, great part of it, remodelled from the archaic dialect of Crete, in which tongue the ballads were found by him. He therefore called it the poem of Homeros, or the Collector; but this is rather a proof of his modesty and talent, than of his mere drudging arrangement of other people's ideas; for, as Grote has finely observed, arguing for the unity of authorship, 'a great poet might have re-cast pre-existing separate songs into one comprehensive whole; but no mere arrangers or compilers would be competent to do so.' Nor is this morbid species of sagacity by any means to be looked upon as a literary novelty. Justus Lipsius, a scholar of no ordinary skill, seems to revel in the imaginary discovery, that the tragedies attributed to Seneca are by _four_ different authors.(34) Now, I will venture to assert, that these tragedies are so uniform, not only in their borrowed phraseology--a phraseology with which writers like Boethius and Saxo Grammaticus were more charmed than ourselves--in their freedom from real poetry, and last, but not least, in an ultra-refined and consistent abandonment of good taste, that few writers of the present day would question the capabilities of the same gentleman, be he Seneca or not, to produce not only these, but a great many more equally bad. With equal sagacity, Father Hardouin astonished the world with the startling announcement that the Ćneid of Virgil, and the satires of Horace, were literary deceptions. Now, without wishing to say one word of disrespect against the industry and learning--nay, the refined acuteness--which scholars, like Wolf, have bestowed upon this subject, I must express my fears, that many of our modern Homeric theories will become matter for the surprise and entertainment, rather than the instruction, of posterity. Nor can I help thinking, that the literary history of more recent times will account for many points of difficulty in the transmission of the Iliad and Odyssey to a period so remote from that of their first creation.

The Iliad by Homer Plot Summary | LitCharts

What shame, what woe is this to Greece! what joy To Troy's proud monarch, and the friends of Troy! That adverse gods commit to stern debate The best, the bravest, of the Grecian state. Young as ye are, this youthful heat restrain, Nor think your Nestor's years and wisdom vain. A godlike race of heroes once I knew, Such as no more these aged eyes shall view! Lives there a chief to match Pirithous' fame, Dryas the bold, or Ceneus' deathless name; Theseus, endued with more than mortal might, Or Polyphemus, like the gods in fight? With these of old, to toils of battle bred, In early youth my hardy days I led; Fired with the thirst which virtuous envy breeds, And smit with love of honourable deeds, Strongest of men, they pierced the mountain boar, Ranged the wild deserts red with monsters' gore, And from their hills the shaggy Centaurs tore: Yet these with soft persuasive arts I sway'd; When Nestor spoke, they listen'd and obey'd. If in my youth, even these esteem'd me wise; Do you, young warriors, hear my age advise. Atrides, seize not on the beauteous slave; That prize the Greeks by common suffrage gave: Nor thou, Achilles, treat our prince with pride; Let kings be just, and sovereign power preside. Thee, the first honours of the war adorn, Like gods in strength, and of a goddess born; Him, awful majesty exalts above The powers of earth, and sceptred sons of Jove. Let both unite with well-consenting mind, So shall authority with strength be join'd. Leave me, O king! to calm Achilles' rage; Rule thou thyself, as more advanced in age. Forbid it, gods! Achilles should be lost, The pride of Greece, and bulwark of our host." Pope was not a Grecian. His whole education had been irregular, and his earliest acquaintance with the poet was through the version of Ogilby. It is not too much to say that his whole work bears the impress of a disposition to be satisfied with the general sense, rather than to dive deeply into the minute and delicate features of language. Hence his whole work is to be looked upon rather as an elegant paraphrase than a translation. There are, to be sure, certain conventional anecdotes, which prove that Pope consulted various friends, whose classical attainments were sounder than his own, during the undertaking; but it is probable that these examinations were the result rather of the contradictory versions already existing, than of a desire to make a perfect transcript of the original. And in those days, what is called literal translation was less cultivated than at present. If something like the general sense could be decorated with the easy gracefulness of a practised poet; if the charms of metrical cadence and a pleasing fluency could be made consistent with a fair interpretation of the poet's meaning, his _words_ were less jealously sought for, and those who could read so good a poem as Pope's Iliad had fair reason to be satisfied. Long was the time which elapsed before any one dreamt of questioning the unity of the authorship of the Homeric poems. The grave and cautious Thucydides quoted without hesitation the Hymn to Apollo,(20) the authenticity of which has been already disclaimed by modern critics. Longinus, in an oft quoted passage, merely expressed an opinion touching the comparative inferiority of the Odyssey to the Iliad,(21) and, among a mass of ancient authors, whose very names(22) it would be tedious to detail, no suspicion of the personal non-existence of Homer ever arose. So far, the voice of antiquity seems to be in favour of our early ideas on the subject; let us now see what are the discoveries to which more modern investigations lay claim. To be sure, The Iliad doesn’t ignore the realities of war. Men die gruesome deaths; women become slaves and concubines, estranged from their tearful fathers and mothers; a plague breaks out in the Achaean camp and decimates the army. In the face of these horrors, even the mightiest warriors occasionally experience fear, and the poet tells us that both armies regret that the war ever began. Though Achilles points out that all men, whether brave or cowardly, meet the same death in the end, the poem never asks the reader to question the legitimacy of the ongoing struggle. Homer never implies that the fight constitutes a waste of time or human life. Rather, he portrays each side as having a justifiable reason to fight and depicts warfare as a respectable and even glorious manner of settling the dispute.

As the hymns, and some other poems usually ascribed to Homer, are not included in Pope's translation, I will content myself with a brief account of the Battle of the Frogs and Mice, from the pen of a writer who has done it full justice(37):-- In the spring he sailed for Athens, and arrived at the island of Ios, now Ino, where he fell extremely ill, and died. It is said that his death arose from vexation, at not having been able to unravel an enigma proposed by some fishermen's children.(15) Ever since Homer’s poems emerged at the beginning of Classical Antiquity, they have remained important touchstones in European literature and philosophy. Although The Odyssey has arguably proven more influential over the centuries, with many translations and retellings, The Iliad has nevertheless managed to sustain much interest throughout the modern period. In particular, The Iliad has an uncommonly rich history of translation into the English language. Alexander Pope completed the first major translation of the poem into English in 1715, and many still consider his rendering unsurpassed. However, there are many other contenders. Translations of The Iliad really began to take off in the 19th century when nearly fifty poets and classicists tried their hand at rendering Homer’s verse. Though the 20th century has not seen quite as many attempts to translate The Iliad, several important translations by the likes of Richmond Lattimore (1951), Robert Graves (1959), Robert Fitzgerald (1974), Robert Fagles (1990), Stephen Mitchell (2011), and, most recently, Caroline Alexander and Peter Green (both 2015) have appeared. If the ongoing industry of translation offers any indication, The Iliad remains alive and well in the modern literary imagination. Can we contemplate that ancient monument, on which the "Apotheosis of Homer"(36) is depictured, and not feel how much of pleasing association, how much that appeals most forcibly and most distinctly to our minds, is lost by the admittance of any theory but our old tradition? The more we read, and the more we think--think as becomes the readers of Homer,--the more rooted becomes the conviction that the Father of Poetry gave us this rich inheritance, whole and entire. Whatever were the means of its preservation, let us rather be thankful for the treasury of taste and eloquence thus laid open to our use, than seek to make it a mere centre around which to drive a series of theories, whose wildness is only equalled by their inconsistency with each other. But poverty soon drove him to Cumae. Having passed over the Hermaean plain, he arrived at Neon Teichos, the New Wall, a colony of Cumae. Here his misfortunes and poetical talent gained him the friendship of one Tychias, an armourer. "And up to my time," continued the author, "the inhabitants showed the place where he used to sit when giving a recitation of his verses, and they greatly honoured the spot. Here also a poplar grew, which they said had sprung up ever since Melesigenes arrived".(4)