FREE ESSAY ON HOMER THE ILIAD

HOMER THE ILIAD

Barbarians & Bureaucrats Mycenae 
No other texts in the Western imagination occupy as central a position in the
self-definition of Western culture as the two epic poems of Homer, the Iliad and the
Odyssey . They both concern the great defining moment of Greek culture, the Trojan War.
Whether or not this war really occurred, or occurred as the Greeks narrate it, is a
relatively unanswerable question. We know that such a war did take place around a city
that quite likely was Troy, that Troy was destroyed utterly, but beyond that it's all
speculation. This war, however, fired the imaginations of the Greeks and became the
defining cultural moment in their history. Technically, the war wasn't fought by Greeks
in the classical sense, it was fought by the Myceneaens; the Greek culture that we call
classical is actually derived from a different group of Greeks, the Dorians and Ionians.
However, the Greeks saw the Trojan War as the first moment in history when the Greeks
came together as one people with a common purpose. This unification, whether it was myth
or not, gave the later Greeks a sense of national or cultural identity, despite the fact
that their governments were small, disunified city-states. Since the Greeks regarded the
Trojan War as the defining moment in the establishment of Greek character, they were
obsessed about the events of that great war and told them repeatedly with great variety;
as the Greek idea of cultural identity changed, so did their stories about the Trojan
War. 
If the Greeks regarded the Trojan War as the defining moment of their culture, they did
so because of the poetry of Homer. It would not be unfair to regard the Homeric poems as
the single most important texts in Greek culture. While the Greeks all gained their
collective identity from the Trojan War, that collective identity was concentrated in the
values, ethics, and narrative of Homer's epic poems. Just as the Greeks were obsessed
about the Trojan War, they were equally obsessed about the Homeric poems, returning to
them over and over again, particularly in times of cultural crisis. The Greeks didn't
believe that the Homeric poems were sacred in any way, or even flawless history. For most
of Greek history, Homer comes under fire for his unflattering portrayal of Greek gods.
The Greeks understood that the poems were poetry, and in the Hellenistic period came to
the understanding that the poems had been deeply corrupted over the ages. So unlike most
ancient cultures which rooted collective identity in religious texts of some sort, the
Greeks turned to literature. As the Trojan War was the product of Mycenean culture, the
Homeric poems were the product of the Greek Dark Ages. Whatever happened at Troy, the
events were probably so captivating, that the Greeks continued to narrate the stories
long after they had abandoned their cities and abandoned writing. The history of the war
was preserved from mouth to mouth, from person to person; it may be that the stories of
the Trojan War were the dominant cultural artifact of the Greek Dark Ages. These stories
probably began as short tales of isolated events and heroes; eventually a profession of
story-telling was established-classical scholars call this new professional a bard. This
new professional began combining the stories into larger narratives; as the narratives
grew, the technique of story-telling changed as well. Whereas early bards probably
memorized their stories with great exactitude, the later bards, telling much longer
stories, probably improvised much of their lines following sophisticated rules. Maybe. We
have evidence from the classical age in Greece of people memorizing the complete poetry
of Homer word for word (over 25,000 lines of poetry); it may be possible that the Homeric
poems were memorized with more exactitude than scholars believe. No matter what the case,
by the end of the Greek Dark Ages, these bards or story-tellers were probably the
cultural center of Greek society; their status improved greatly as Greeks began to slowly
urbanize. On an average night in the late Greek Dark Ages, a community, probably the
wealthiest people, would settle in for an evening's entertainment. The professional
story-teller would sing the stories of the Trojan War and its Greek heroes; these songs
would be the Greek equivalent of a mini-series, for the stories were so long that they
would take days to complete. The Greeks believed that the greatest of these story-tellers
was a blind man named Homer, and that he sung ten epic poems about the Trojan War, of
which only two survived (although the Greeks seem to have known them). As a group these
poems told the entire history of the Trojan War; each poem, however, only covered a small
part of that history. Many classicists believe that the two surviving Homeric epics
(probably the only Homeric epics) were in fact composed by several individuals; in the
absence of any evidence to the contrary, most classicists accept the overall Greek idea
of a single author. Whatever the compositional history of the poems, they were set down
into writing within a few decades of their composition; the growing urbanization of Greek
society led to the rediscovery of writing (learned from the Phoenicians this time), and
the Homeric poems were committed to writing very quickly. Time and transmission added
much extraneous material to the poems, but in their basic character and outline they seem
to be the original compositions. The Iliad is the story of a brief event in the ninth
year of the war (which the Greeks claim lasted ten years); the great hero Achilles is
offended when the leader of the Greeks, Agamemnon, takes a slave girl Achilles has been
awarded. Achilles withdraws from the battle and prays to his mother, Thetis, a goddess,
to turn the tide of battle against the Greeks. The gods grant Achilles his prayer, and he
does not return to battle until his best friend is killed by the great Trojan hero,
Hector. Achilles throws himself into the battle, fights Hector, and kills him; in a final
gesture of contempt, he drags Hector's lifeless body around the walls of Troy. If there
is a theme to the epic (and one should resist simplifying large and complex literature),
it is Achilles choice. Achilles has been offered a choice: either he can be a great and
famous hero in war and die young (Achilles does die in Troy when a poison arrow strikes
him in the ankle), or the can live a long, happy life without any lasting fame
whatsoever. Although Achilles initially chooses not to die young, the death of his friend
forces him to make the choice that will make him famous for all time, but tragically dead
at a young age. The Odyssey is the story of the homecoming of another of the great Greek
heroes at Troy, Odysseus. Unlike Achilles, Odysseus is not famous for his great strength
or bravery, but for his ability to deceive and trick (it is Odysseus's idea to take Troy
by offering the citizens a large wooden horse filled, unbeknownst to the Trojans, with
Greek soldiers). He is the anthropos polytropos , the man of many ways, or the man of
many tricks. His homecoming has been delayed for ten years because of the anger of the
gods; finally, in the tenth year, he is allowed to go home. He hasn't been misspending
his time, though; for most of the ten years he has been living on an island with the
goddess Kalypso, who is madly in love with him. Odysseus, like Achilles, is offered a
choice: he may either live on the island with Kalypso and be immortal like the gods, or
he may return to his wife and his country and be mortal like the rest of us. He chooses
to return, and much of the rest of the work is a long exposition on what it means to be
mortal. If the Odyssey has a discernible theme, it is the nature of mortal life, why any
human being would, if offered the chance to be a god, still choose to be mortal. This
choice becomes particularly problematic when Odysseus, in Book XI, meets the ghost of
Achilles in the Underworld; Odysseus remarks to Achilles how all the shades of the dead
must worship and serve Achilles, but Achilles replies that he would rather be the meanest
and most obscure slave of the poorest landholder than be the most famous of the dead. If
being dead is so awful, what is it about being human that makes up for the infinite
suffering that attends our deaths? As part of this question concerning the nature of
human life, much of the book deals with the nature of human civilization and human
savagery. The question also deepens in the latter half of the poem; while the first half
of the epic deals with the question of the value of a mortal life, the last half of the
epic introduces the question of the value of an anonymous human life. What value can be
attached to a life that will be forgotten at its conclusion? The Greeks in general regard
Homer's two epics as the highest cultural achievement of their people, the defining
moment in Greek culture which set the basic Greek character in stone. Throughout
antiquity, both in Greece and Rome, everything tended to be compared to these two works;
events in history made sense when put in the light of the events narrated in these two
works. As a result, then, these two epics are the focal point of Greek values and the
Greek world view despite all its evolution and permutations through the centuries
following their composition. 
Barbarians & Bureaucrats Polyphemos Greek Glossary Arete 
There are two very important words repeatedly used throughout the Homeric epics: honor
(time ) and virtue or greatness (arete ). The latter term is perhaps the most reiterated
cultural and moral value in Ancient Greece and means something like achieving, morally
and otherwise, your greatest potential as a human being. The reward for great honor and
virtue is fame (kleos ), which is what guarantees meaning and value to one's life. Dying
without fame (akleos ) is generally considered a disaster, and the warriors of the
Homeric epics commit the most outrageous deeds to avoid dying in obscurity or infamy
(witness Odysseus's absurd insistence on telling Polyphemos his name even though this
will bring disaster on him and his men in the Polyphemos episode). The passage from
Odyssey XI discussed above presents Achilles's final judgement on kleos and its value
when he tells Odysseus that he would rather be alive and the most obscure human on earth
than dead and famous. Richard Hooker