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Home , Euphorbus, Glory (honor), Helen of Troy, Imbrius, Ogygia, Out of Time (Heroes)

The Review: A Journal of Undergraduate Student Research

Volume 16 Article 7

2015

The Natures of Monsters and

Vanessa Nikolovska [email protected]

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Recommended Citation Nikolovska, Vanessa. "The Natures of Monsters and Heroes." The Review: A Journal of Undergraduate Student Research 16 (2015): 26-35. Web. [date of access]. .

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Abstract Around the late eighth or early seventh century B.C., a poet, known to later ages as , composed two epic poems that tell the tales of the , The and The . The Iliad tells the story of the rage of , the great Greek warrior, while tells the story of the coming home of , the King of Ithaca, from the Trojan War. A study of both epics reveals that constructs portraying various values, such as the characteristics of heroes, have remained the same from the times of ancient to the present day. However, modern interpretations of epics also portray new/ altered constructs of values in their creation of heroes, such as equality. The topics of fate, mortality, and religion in the epics are reviewed and debated. The character of Achilles, as to whether or not he is a true hero, is also subject to debate. Homer’s epic poems The Iliad and The Odyssey argue that heroes possess the qualities of pride, selflessness, glory, and bravery; both text and film adaptations of these original works exhibit the same characteristic of heroes, while the monsters of these ancient Greek epics represent the adverse, innate qualities that we flawed humans possess.

Keywords Heroes, Homer, Iliad, Odyssey, Monsters

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The Natures of Monsters and Heroes

Vanessa Nikolovska

Abstract army and travel to ; the ensuing war Around the late eighth or early seventh results in many deaths and the fall of Troy. century B.C., a poet, known to later ages as Achilles, considered the greatest Greek Homer, composed two epic poems that tell warrior, fights for the Greek army. the tales of the Trojan War, The Iliad and However, Achilles is against ’s The Odyssey. The Iliad tells the story of the rule, for he recognizes that Agamemnon is a rage of Achilles, the great Greek warrior, greedy king who cares only for himself. while The Odyssey tells the story of the One common theme throughout the coming home of Odysseus, the King of scholarship regarding Homer’s The Iliad and Ithaca, from the Trojan War. A study of The Odyssey is that characteristics of heroes both epics reveals that constructs portraying include selflessness, honor, glory, divinity various values, such as the characteristics of and that they are unique in comparison to heroes, have remained the same from the common people. In the article “The times of ancient Greece to the present day. Independent Heroes of The Iliad,” P.V. However, modern interpretations of ancient Jones writes that heroes in The Iliad are Greek epics also portray new/ altered portrayed as being on the same level as the constructs of values in their creation of gods. Jones argues, “the heroes in The Iliad heroes, such as equality. The topics of fate, never talk in terms of divine mystery and mortality, and religion in the epics are numinosity” (113). The scene of the epic reviewed and debated. The character of where rescues from death at Achilles, as to whether or not he is a true the hands of exemplifies this idea: hero, is also subject to debate. Homer’s epic “[Aphrodite] carries [Paris] off to deposit poems The Iliad and The Odyssey argue that him in ’s bedroom. Aphrodite then heroes possess the qualities of pride, summons Helen to join him. Menelaus selflessness, glory, and bravery; both text searches in vain for his vanished opponent” and film adaptations of these original works (Jones 111). Paris makes no response to this exhibit the same characteristic of heroes, supernatural event, because for heroes there while the monsters of these ancient Greek is nothing mysterious about the supernatural. epics represent the adverse, innate qualities The heroes take their miracles and good luck that we flawed humans possess. for granted. Jones also discusses ways in which heroes are unique in comparison to others. He states, “in Achilles, however, In the mythological story of the Homer chooses to create a character who Trojan War, Paris, the Prince of Troy, sparks has, through his mother, unique and the war by taking Helen of , the most privileged access to the will of and beautiful woman of the time, from King knows his fate from the very start of The Menelaus. Menelaus seeks assistance from Iliad,” supporting the claim that heroes are his brother, King Agamemnon of , unique and set apart from regular people in order to exact revenge. Agamemnon (Jones 115). This is also seen in the modern helps his brother not out of love but out of a adaptation of The Iliad, 2004 film Troy, desire to acquire Troy and rule the city. directed by Wolfgang Petersen, when the They assemble a large Greek (Achaean) hero Achilles was set apart from the other

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warriors during battle, making him appear through the trouble to create a mist to extend god-like while watching over the fight. over the body of signifies that Hector During battle the death of warriors is was deserving of such protection after dying a common occurrence, but when heroes die, for fighting to protect his brother and his they are typically given more glorious city. deaths. In her article “Craft Similes and the The role of the gods is lessened in Construction of Heroes in The Iliad,” Naomi the lives of heroes compared to in the lives Rood argues that epic poetry portrays the of the common people. To what extent do hero’s death as beautiful because the heroes the myths allow heroes to shape their own die honorably fighting for their people. destiny? One example is the hero Achilles, Rood introduces many similes from the epic who was born knowing his fate, through his that illustrate “undying glory, mother, and had access to the will of Zeus. aphthiton” of heroes (20). These similes Achilles thus already knew how his story serve as praise for the fallen heroes. would end, thereby allowing him to be more Examples include the similes of falling like independent of the gods since he already trees, which praise the Trojan heroes knew what would become of him. Later in , , and Hector. Menelaus this paper it will be explained that Odysseus kills Euphorbus after Euphorbus inflicted is another example; he was able to redirect the first wound on ’ body fate, something thought capable only by the (Menelaus and Patroclus are Spartans/ gods, when he blinds ’s son, the Myrmidons, who were allies). Euphorbus . However, he would continue to “is compared to a beautiful, blooming olive confront numerous challenges before sapling nurtured by a man in a well-watered ultimately prevailing. pasture...But then a sudden tempest uproots The death of Imbrius, a Trojan ally and lays it low on the Earth” (Rood 25). married to King of Troy’s daughter, is Euphorbus is evidently praised as a also likened to the simile of a fallen tree. flourishing, beautiful youth while losing his “He falls like an ash tree which is cut down life in battle. on the peak of a mountain seen from afar on Hector is also praised as a hero all sides and whose tender leaves fall to the through similes. Hector is Paris’ brother; ground” (Rood 25). The fact that the tree is they are both princes of Troy. , a Greek seen on a distant, prominent mountain top warrior, throws a rock at Hector, causing matches Imbrius’ prominent honor at Troy. him to fall “like an oak tree uprooted by a The “tender leaves” symbolize the fragility blow from Zeus” (Rood 25). Homer of young, mortal life and the beautiful death compares Hector to an oak tree that requires that compensates for that lost life (Rood 25). a blow from Zeus to make it fall, praising The death of Imbrius is beautiful because he his strength, which is another common died defending Troy, which was the highest characteristic of heroes. Jonathan Fenno’s honor for a warrior. article “The Mist Shed by Zeus in Iliad Great pride, notable achievements, Xvii” makes note of the mist the god, and high honor are synonymous to glory. , extends over the deceased Hector, When one thinks of heroes from the ancient which functions to prevent the corpse’s epics, one most likely thinks of a glorious, degradation. This illustrates that since a god selfless fighter who would die for his is doing something to honor the corpse of a people. Rood points out that ‘undying person, that person was a true, honorable glory’ is a characteristic of heroes in the hero" (Fenno 5). The fact that a god went Homeric epics. She states, “like a tree taken

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from nature for the ends of culture, the poem fighting, but now also by the additional gives him immortal glory in its account of dangers created by the plague” (Humphrey his beautiful death” (29). Rood analyzes 58). Achilles is evidently concerned about similes in the epic to demonstrate how the well-being of the armies, showing how immortal glory is given to heroes, who have he is selfless and caring towards others, and beautiful deaths because they are selfless thus proving his honor. when it comes to fighting for their people. Glory is clearly a major theme in An extension of this idea is present when Homer’s poems. In a warrior-society such Jones states, “Patroclus… by throwing in as that of Greece and Troy that flourished 'fate' and 'Zeus' too, he incidentally removes around 3,200 years ago, a requirement of yet more glory from Hector” (111). This is heroes was that they must earn glory for because Hector attacks and kills Patroclus their country. Nikolopoulou states that when Patroclus’ back is turned— a twist of “[war is a] celebrated instant of communal fate and the will of the gods. Hector is a glory and national legend” (237). Both of Trojan prince, while Patroclus is an Achaean Homer’s epics focus on the Trojan War. who is kin to Achilles. In Jones’ statement, Glory is earned through heroically fighting he insists that glory can be removed from in battle and, in the time of ancient Greece, heroes by the implications of fate and the earned one’s status. Humphrey also gods; the will of the gods causes Hector to indicates that the motivation for the lose glory. Since Patroclus’ back is turned, warriors, specifically , is to earn glory Hector mistakes Patroclus for Achilles, in battle—and if that means plundering which makes his killing of Patroclus all the cities—it will be done. Nestor is the wise less glorious. Glory is an imperative old man of the Achaean army, who boosts characteristic the fearless heroes possess in morale by always giving advice to the rulers the epics, but in some circumstances the and the warriors. Similarly, Jones mentions gods can take away glory from heroes when how Odysseus prays to for glory in they act dishonorably. battle, highlighting its importance (112). Similar to Rood’s analysis of similes Anything dealing with the gods is highly that honor the fallen heroes of Troy and significant in , and the fact memorialize their deaths, Kalliopi that a hero is praying for glory in battle, Nikolopoulou’s article “Deserting Achilles even if it means death, indicates that a true Reflections on Intimacy and hero is willing to give his life to earn glory Disinheritance,” presents the familiar idea for his people. that heroes represent the ideals of the Another similarity in the scholarship community. This theme of honor is similar regarding Homer’s famous epic poems is to Jones’ argument regarding the heroes that they argue how anger, rage, and fury are being similar to the gods, and thus worthy of crucial in the development of the stories. the honor bestowed upon them by the gods. Humphrey acknowledges that The Iliad J. Fred Humphrey describes the Greek begins with the word anger/ rage (mёnin), warrior Achilles, in his article “Self- Interest and makes the argument that the real topic and the Common Good in Book I of of the story is Achilles’s anger (56). Homer’s Iliad,” as thinking for the common Nikolopoulou also acknowledges the good and doing the best for the community. importance of fury in the shaping of the For example, “[Achilles argued] that each stories and has an in-depth discussion of army must return to its respective home mёnin in her article, in which she argues that because of the risks posed not only by the “Achilles’s wrath against the arbitrary

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expression of authority insists on the people]” (58). These services include imperative that one ought to attend to offering protection to his people, since matters of justice at precisely that moment” Achilles is considered the greatest Greek (237). She expresses that the wrath of warrior. Achilles against authority proves that people The values of honor and glory are should do what they feel is just precisely at seen throughout the ages. Doing what is the moment; if they do not act, everything honorable acts as a driving force for actions can change for the worse, and the seen in the epics, The Iliad and The Odyssey development of the story would be severely by Homer, as well as in modern adaptations altered. Therefore, another characteristic of of these epics. For example Margaret heroes would be their morality and defense Atwood’s novella and the of those morals no matter what. Achilles is 2004 film Troy. Homer’s epic poems, The against Agamemnon’s authority because Iliad and The Odyssey, demonstrate that Agamemnon demands Achilles’s war prize, heroes possess the qualities of pride, the slave girl . Achilles finds himself selflessness, glory, and bravery, and both of in the same position as Menelaus, and he the aforementioned adaptations reinforce feels insulted. He refuses to fight for the these ideals for the modern audience. against the Trojans because he loves Homer’s poems, The Iliad and The Briseis. Achilles believes that it is Odyssey, as well as their modern unacceptable to take away another man’s adaptations, depict Greek warriors as heroic woman, and therefore is against and selfless; in this regard, common values Agamemnon’s authority. The rage of have not altered through the ages. Achilles shapes the development of The Specifically, honor and glory still act as the Iliad and introduces that a characteristic of driving forces in human behavior and major heroes is that they stick to their morals. values. In the original epic The Iliad, honor Scholarship surrounding the ancient is a major theme. One example is in Book 3 myths also tends to discuss the way modern where Hector, son of , rebukes people would interpret some of Homer’s his brother Paris for his lack of honor and ideas. Nikolopoulou “[proposes] to read the for being a cause of the war. He taunts, Iliad [sic] as the tale of a hero turned deserter in his effort to foreground ethical Paris, appalling Paris! Our prince of questions such as justice, redress, and the beauty— viability of the heroic code – all of which mad for women, you lure them to are made secondary in the frenzy of war” ruin! (232). She defends Achilles’s desertion of Would to god you’d never been born, the war, contrary to the common modern- died unwed. day way of thinking. The modern-day That’s all I’d ask. Better that way by American may view Achilles’s character as far a traitor, since he defies the law by than to have you strutting here, an abstaining from fighting in the war. outrage— Nikolopoulou distances herself from that a mockery in the eyes of all our group of thought to make a positive case for enemies (44-49). him, defending him as a hero. Humphrey also defends Achilles’s actions, stating that In this quotation, Hector shows how he toils for the common good, and is appalled he is at his brother for his lack of “willing to offer his services [for his honor in stealing another man’s wife and

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causing a war. An interesting similarity Similarly, honor is also discussed between the original epic and the film greatly in The Odyssey. In Book 1, adaptation (the 2004 film Troy, directed by , Odysseus’ son, is speaking to Wolfgang Petersen) is that in the film, the goddess Athena. He tells her, Hector is visually portrayed in the film in the same way one would think he would be Were his death known, I could not from reading the quotation, as very angry feel such pain— towards his brother. On the other hand, if he had died of wounds in Trojan Priam, Hector and Paris’s father, the King of country Troy, is much more compassionate and or in the arms of friends, after the understanding than Hector, and states that war. wars have been fought over everything— They would have made a tomb for glory, status, land—so it makes sense to him, the Akhaians, fight a war for love. Either way, Paris’s and I should have all honor as his honor is debatable. Although in the epic son (280-284). Hector rebukes his brother for his lack of honor, the film depicts Paris as young and in Telemachus laments to the goddess that his love but also as honorable because he states father’s fate is unknown to him. He holds that he does not want to see one more Trojan the common belief of the time that death in warrior die as a result of his actions, and battle is honorable, and if he at least knows makes himself fight Menelaus alone. his father died fighting in Troy, his pain will Literary techniques aid the building not be so great. Telemachus accuses his up of heroes in the epic and in the poem mother’s suitors of dishonor when he states, creating kleos aphthiton, ‘undying glory,’ in Book 2, for its heroes. Rood states in her article that, “a beautiful death, kalos , consists …there is now this greater evil still: of a warrior dying gloriously in battle at the My home and all I have are being peak of his youth and beauty and becoming ruined. a spectacle of admiration for others” (20). Mother wanted no suitors, but like a The author points out that similes of falling pack like trees praise three important, valuable they came—sons of the best men here Trojan heroes—Hector, Euphorbus, and among them— Imbrius, all who died gloriously in battle. lads with no stomach for an introduction This idea of undying glory and honor being to Ikários, her father across the sea. (51- earned in valiant battle is echoed in the film 56) Troy. The last words of the film are “let these names be remembered forever” (Troy, It is evident that Telemachus believes his 2004, dir. Wolfgang Petersen). The narrator mother’s suitors are dishonorable. He holds explains that people will speak of the times the fact that they could not introduce they lived in as the times of Hector, themselves to her father before begging her Achilles, and Priam—the fallen heroes of for her hand in marriage as testimony to the the story. The film primarily notes that proof of their dishonor. This lack of these heroes will be remembered forever, decorum demonstrates that the suitors are echoing Rood’s theory of attaining undying truly cowards and only want ’s glory through heroic, beautiful deaths. hand in marriage to benefit themselves. She is the wealthy Queen of Ithaca, and by

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marrying Penelope one of her suitors can In Book Nine, Odysseus encounters become King. Since honor is an attribute of the son of Poseidon, , otherwise heroes, Penelope’s suitors are unheroic; in known as the Cyclops. The Cyclops traps fact, they are who deplete her home Odysseus and his men in his cave, and eats of its resources and will not leave after being six of them. Odysseus uses his cunning to rejected. get the Cyclops drunk, and manages to blind The Odyssey by Homer tells the tale him: of the coming home of the hero Odysseus, I drew [my big hand spike] from the King of Ithaca, from the Trojan War. This coals and my four fellows tale is considered Part 2 of The Iliad. For gave me a hand, lugging it near the many, the most memorable parts of the story Kyklops are Odysseus’ encounters with monsters and as more than natural force nerved how he gets through the seemingly them; straight impossible task of defeating them. Another forward they sprinted, lifted it, and common feature of heroic stories comes rammed it from the stark difference between the deep in his crater eye (412-416). characteristics of heroes and monsters. A hero stands for honor, glory. He may also Using sheep to hide under, Odysseus and his possess semi-divine or divine attributes. men then manage to escape Polyphemus’s The monsters on the other hand symbolize cave. Odysseus’ decision to blind the many different things, but the universal Cyclops redirects fate towards a new characteristics of the monsters in the typical direction, showing that fate can be unkind. epic are those opposite of the heroes. They The new direction is not a positive one. are selfish, chaotic, and wreak havoc, yet Odysseus’ decision to blind the Cyclops has after all of this, they still muster up some negative implications, which include sympathy within the hearts of the readers Poseidon punishing him for what he did to when the heroes defeat them. This is his son. Poseidon creates many storms on because we identify with the monsters since the open sea, and punishes those who they are only doing all they know to do. attempt to assist Odysseus on his journey. The monsters represent our innate, negative In this epic Poseidon is a monster who characteristics that we suppress, but represents evil forces, acting as a constant suppression of qualities does not mean we force of opposition. He inhibits Odysseus do not possess them. from reaching his goals, but through The first monster Odysseus faces is determination and after 20 years, Odysseus , a sea from the island makes it back home. Poseidon can that keeps Odysseus on her island symbolize opposing, detrimental thoughts. for 8 years, and so Calypso represents the Polyphemus, after he is blinded, symbolizes selfish qualities within people. Calypso the negative innate quality within some to makes an offer to Odysseus to make him only see with one perspective, or in other immortal, since she is so lonely on her words, are close-minded. island. She cares about no one other than Calypso, Poseidon, and the Cyclops herself. Athena, the goddess of wisdom, the are certainly not the only monsters Odysseus arts, and war, persuades Zeus, god of gods, encounters on his travels back to Ithaca from to send a message to Calypso to let Troy. is a nymph who lives in the Odysseus go, and after 8 years he finally Aegean Sea who turns Odysseus’ crew into departs from Ogygia. swine. Since Circe feels abused by

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Odysseus, who takes his men and enters her suddenly heaves and rises” (12. 305-308). palace without any consideration for her, she Charybdis is an enormous whirlpool turns his men into pigs. Thus, she represents monster that swallows Odysseus’s ship. greed and wealth, because the abuse of When the ship is swallowed, Odysseus holds wealth, will turn someone into a greedy onto the branch of a fig tree until it gets out person, as represented by the swine. of the whirlpool. Charybdis acquires her Ultimately, Odysseus threatens Circe, victims slowly, in contrast to Scylla. forcing her to turn his men back into their Charybdis represents things that must stop original state, which she does. before it is too late, because the longer one Getting past the sirens is another is involved, the harder it is to get out. obstacle Odysseus must face on his way Surprisingly, there are many back home. The sirens sing the songs of the parallels one can make to one’s inner men’s pasts in order to distract their qualities and ancient monsters. Perhaps attention from steering the ship, thus luring Homer had this in mind when he created the them to their deaths. They represent epic poems. If anything can be taken from temptation, and in order to achieve one’s the encounters Odysseus had with the goals, one must resist temptation that will monsters, it is that one always must exercise surely lead to one’s doom if given in to. In extreme caution in whatever one does; fate Book 12, the sirens sing to Odysseus about can be changed at any given moment. his role in the Trojan War: Close-mindedness, internal regression, and ’ old soldiery the capacity to create , greed, and On Troy beach teeming, selfishness are all negative innate qualities Charmed out of time we see. man may possess. As flawed human beings, No life on earth can be we share these qualities with the monsters of Hid from our dreaming (241-245). the Homeric epic The Odyssey. From this excerpt, it is evident that the Although the values behind the sirens’ goal is to cause men to become lost characteristics of heroes and monsters have in their past. The sirens represent not changed from the times of ancient regression, instead of improving and moving Greece to modern-day American society, forward in one’s life. The sirens, or societal values such as equality of the sexes temptations, should be avoided in order to has changed. The novella The Penelopiad achieve one’s goals. and the TV series place a Charybdis and Scylla are also much greater emphasis on the female roles monsters that Odysseus must pass to make it in the epics. The mere name of the TV home. Scylla is a six-headed sea monster series Helen of Troy highlights the who rapidly and unexpectedly snatches six importance of the female in the shaping of of Odysseus’ men, one man for each head. the epics. This is also illustrated by the fact Scylla represents tragedy that that The Penelopiad is narrated by Penelope. can only be borne with perseverance. Scylla She tells the story of her own life, and the also represents the human capacity to wreak reader is made to sympathize with her. havoc and create chaos. Homer utilizes The article, “‘The Penelopiad’ and simile to compare the sea to a cauldron [sic] ‘Weight’. [sic] Contemporary Parodic when he describes the chaos Charybdis and Burlesque Transformations of Classical causes in the open sea: “by heaven! when Myths,” by Hilde Staels, discusses modern she/ vomited, all the sea was like a cauldron/ transformations of Homer’s epic The seething over intense fire, when the mixture/ Odyssey. He points out how “according to

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Helen of Troy, Penelope is the boring, the sheep and the pigs and goats and cows,” modest, and perennially devoted wife of Penelope comforts them to the best of her ancient myth” however, a modern capability (Atwood 116). The other women interpretation of Homer’s poems, The think the maids are acting spoiled, and Penelopiad, portrays Penelope as very Penelope is reprimanded for her extreme interesting and tells the story of her life kindness towards the girls. The Penelopiad (Staels 106). This modern interpretation of illustrates the strong modern value of The Odyssey places a much greater emphasis equality through Penelope’s morality, on the role of females in the stories, proving showing that it is not only the males of the that equality is more valued in today’s myths that can be heroes. It is important to society than in the society of ancient Greece remember however, that the fundamental about 3,200 years ago. characteristics of a hero are not altered; the ’s novella The only thing that is different is that females are Penelopiad is a modern-day interpretation of more prominent in modern adaptations. the classical myth The Odyssey, that One subject of debate in the certainly honors Penelope. The story is told discussion of The Iliad is found in the role of from her point of view, signifying that a Achilles. Most would argue Achilles’s woman’s perspective is valued just as much character is one of a hero. However, as man’s in current storytelling. It is evident Achilles left the Trojan War, so to some he that Penelope is honored from the beginning is perceived as a traitor. Achilles seeks of the novella through the story of her justice and looks for answers about how childhood. The author makes it seem that practical the heroic code truly is. He always Penelope has come such a long way and has looks out for the common good, as gone through so much. Her father, King illustrated by his announcement to warn Icarus of Sparta, orders her to be thrown into everybody of the plague. Nikolopoulou the sea at a young age. This story is told notes, from Penelope’s point-of-view, and she states, “it is to this episode—or rather, to my it is not a coincidence that Achilles is knowledge of it—that I attribute my reserve, portrayed in The Iliad not only as a as well as my mistrust of other people’s warlike creature, but also as one intentions” (Atwood 9). This causes the who invites, the gatherer of reader to feel sympathy towards Penelope assemblies, the master of because of what her father does to her. ceremonies, and a fine host to both Another instance in which Penelope friends and enemies. In Book 9, he is honored is when she explains that the offers the Achaean embassy a gossip spread around about her is untrue. generous banquet, but to its She does only what is necessary given her pragmatic concerns he responds with circumstance. She explains that even her metaphor’s open-ended requirement: husband, Odysseus, supports her leading on that the listeners be moved by some of her suitors to extract expensive gifts language, and wish to be transported from them—which was “scant return for into its space (241). everything they’d eaten and wasted” (Atwood 144). The novella also builds her This quotation builds the image of Achilles up as a hero due to her strong morals. When as a hero, a grand host who is generous and the suitors “helped themselves to the maids moved by language, and wants his guests to in the same way they helped themselves to be as well, even if they are enemies. This

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quotation demonstrates that in The Iliad, Works Cited Achilles is a major war hero. In today’s Atwood, Margaret. The Penelopiad. New modern, American society, Achilles would York: Canongate, 2005. Print. be a figure of treason for leaving the war, Fenno, Jonathan. “The Mist Shed By Zeus even though he searches for justice and In Iliad Xvii.” Classical Journal 104.1 questions the essence of the heroic code. (2008): 1-9. Education Research When Agamemnon takes Briseis away from Complete. Web. 10 Feb. 2013. Achilles, he feels betrayed and insulted, so Helen of Troy. Dir. John Kent Harrison. he stops fighting for Agamemnon’s army Perf. Sienna Guillory, Matthew because he feels Agamemnon is a greedy Marsden, Rufus Sewell. Universal king that does not deserve his strength as a Studios, 2003. TV Series. warrior. While some find this to be Homer. The Iliad. Trans. Robert Fagles. sufficient justification for leaving the war, New York: Penguin Books, 1998. Print. others finds that his simple departure from Homer. The Odyssey. Trans. Edward the war makes him a traitor, not a hero, McCrorie. Baltimore: Johns Hopkins regardless of his reasons. University Press, 2004. Print. The literary strategy of simile that Humphrey, J. Fred. “Self-Interest and the Homer utilizes in his writings creates Common Good in Book I of Homer’s deeper, as seen specifically through the Iliad.” Icelandic E-Journal of Nordic similes of heroes falling like trees in battle. and Mediterranean Studies Vol. 4, no. 1 These similes indicate how the deaths of (2009). Web. 10 Feb. 2013. these heroes are beautiful because they die Jones, P.V. “The Independent Heroes of the fighting for an honorable cause. It is human Iliad [sic].” The Journal of Hellenic nature to idolize those who possess the Studies 116 (1996): 108-118. The characteristics we deem desirable in our Society for the Promotion of Hellenic society; thus, it makes sense that the heroes Studies. Web. 10 Feb. 2013. we look up to have the same characteristics, Nikolopoulou, Kalliopi. “Deserting Achilles from ancient to modern-day times. The [sic] Reflections on Intimacy and general themes present in The Iliad and The Disinheritance.” European Journal of Odyssey are still of interest to today’s English Studies 9.3 (2005): 229-250. scholars; if this were untrue, Homeric epics Academic Search Complete. Web. 10 would not still be taught in schools across Feb. 2013. America. The poems still speaks to Rood, Naomi. “Craft Similes and the common values—to human nature. People Construction of Heroes in the Iliad.” idolize heroic characteristics like Harvard Studies in Classical Philology selflessness, glory, and honor, while the 104 (2008): 19-43. Web. 10 Feb. 2013. characteristics of chaos, selfishness, and Staels, Hilde. “‘The Penelopiad’ And [sic] close-mindedness are attributed to monsters ‘Weight’. [sic] Contemporary Parodic and the negative, qualities that can reside and Burlesque Transformations Of within human nature as well. With some Classical Myths.” College Literature 4 degree of variation, the fact that the modern (2009): 100. JSTOR Arts & adaptations show the same values illustrates Sciences V. Web. 10 Feb. 2013. their importance throughout time. Troy. Dir. Wolfgang Petersen. Perf. Orlando Bloom, Brad Pitt, Bana. Warner Bros. Pictures, 2004. Film.

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Bibliography Owen, Eric Trevor. The Story of the Iliad. Atwood, Margaret. The Penelopiad. New The University of Michigan Press: Ann York: Canongate, 2005. Print. Arbor Paperbacks, 1966. Print. Fenno, Jonathan. “The Mist Shed By Zeus Rood, Naomi. “Craft Similes and the In Iliad Xvii.” Classical Journal 104.1 Construction of Heroes in the Iliad.” (2008): 1-9. Education Research Harvard Studies in Classical Philology Complete. Web. 10 Feb. 2013. 104 (2008): 19-43. Web. 10 Feb. 2013. Gibbons, Michael. “Felice Vinci, The Baltic Staels, Hilde. “‘The Penelopiad’ and [sic] Origins of Homer’s Epic Tales; The ‘Weight’. [sic] Contemporary Parodic Iliad, The Odyssey, and the Migration of and Burlesque Transformations of Myth.” Rev. of Baltic Origins of Classical Myths.” College Literature 4 Homer’s Epic Tales, by Felice Vinci. (2009): 100. JSTOR Arts & Nordicum- Mediterraneum: Icelandic E- Sciences V. Web. 10 Feb. 2013. Journal of Nordic and Mediterranean Suter, Ann. “Aphrodite/ Paris/ Helen: A Studies Vol. 5, no. 1 (2010). Web. 10 Vedic Myth in the Iliad [sic].” Feb. 2013. Transactions of the American Helen of Troy. Dir. John Kent Harrison. Philological Association (1974-) 117 Perf. Sienna Guillory, Matthew (1987): 51-58. Web. 10 Feb. 2013. Marsden, Rufus Sewell. Universal Troy. Dir. Wolfgang Petersen. Perf. Orlando Studios, 2003. Film. Bloom, Brad Pitt, Eric Bana. Warner Homer. The Iliad. Trans. Robert Fagles. Bros. Pictures, 2004. Film. New York: Penguin Books, 1998. Print. van der Mije, Sebastiaan R. “Bad Herbs— Homer. The Odyssey. Trans. Edward the Snake Simile in Iliad 22.” McCrorie. Baltimore: Johns Hopkins 64 (2011): 359-382. Web. University Press,2004. Print. 10 Feb. 2013 Humphrey, J. Fred. “Self-Interest and the Common Good in Book I of Homer’s Iliad.” Icelandic E-Journal of Nordic and Mediterranean Studies Vol. 4, no. 1 (2009). Web. 10 Feb. 2013. Jones, P.V. “The Independent Heroes of the Iliad [sic].” The Journal of Hellenic Studies 116 (1996): 108-118. The Society for the Promotion of Hellenic Studies. Web. 10 Feb. 2013. Louden, Bruce. The Iliad: Structure, Myth, and Meaning. Baltimore: Johns Hopkins University Press, 2006. Web. 10 Feb. 2013. Nikolopoulou, Kalliopi. “Deserting Achilles Reflections on Intimacy and Disinheritance.” European Journal of English Studies 9.3 (2005): 229-250. Academic Search Complete. Web. 10 Feb. 2013.

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