Agamemno1

Agamemnon Context Aeschylus was born in Eleusis, a Greek town near Athens, in 525 B.C. He was the first of the great Greek tragedians, preceding both Sophocles and Euripides, and is credited by many as having invented tragic drama. Prior to Aeschylus, plays were more rudimentary, consisting of a single actor and a chorus offering commentary. In his works, Aeschylus added a "second actor" (often more than one), creating a new range of dramatic possibilities. He lived until 456 B.C., fighting in the wars against Persia, and attaining great acclaim in the world of the Athenian theater. Aeschylus wrote nearly ninety plays. However, only seven have survived to the modern era, including such famous works as Prometheus Bound and The Seven Against Thebes.Agamemnon is the first of a trilogy, the Oresteia, the other two parts of which are The Libation-Bearers and The Eumenides. The trilogy--the only such work to survive from Ancient Greece--is considered by many critics to be the greatest Athenian tragedy ever written, because of its poetry and the strength of its characters. Agamemnon depicts the assassination of the title character by his wife, Clytemnestra, and her lover. The Libation-Bearers continues the story with the return of Agamemnon's son, Orestes, who kills his mother and avenges his father. In The Eumenides, Orestes is pursued by the Furies in punishment for his matricide, and finally finds refuge in Athens, where the god Athena relieves him of his persecution. The events of Agamemnon take place against a backdrop that would have been familiar to an Athenian audience. Agamemnon is returning from his victory at Troy, which has been besieged for ten years by Greek armies attempting to recover Helen, Agamemnon's brother's wife, who was stolen by the treacherous Trojan Prince, Paris. (The events of the Trojan War are recounted in Homer's Iliad.) The tragedies of the play occur as a result of the crimes committed by Agamemnon's family. His father, Atreus, boiled the children of his own brother, Thyestes, and served them to him. Clytemnestra's lover, Aegisthus (Thyestes's only surviving son), seeks revenge for that crime. Moreover, Agamemnon sacrifices his daughter, Iphigenia, to gain a favorable wind to Troy, and Clytemnestra murders him to avenge her death. The weight of history and heritage becomes a major theme of the play, and indeed the entire trilogy, for the family it depicts cannot escape the cursed cycle of bloodshed propagated by its past. Overall Summary Agamemnon begins with a Watchman on duty on the roof of the palace at Argos, waiting for a signal announcing the fall of Troy to the Greek armies. A beacon flashes, and he joyfully runs to tell the news to Queen Clytemnestra. When he is gone, the Chorus, made up of the old men of Argos, enters and tells the story of how the Trojan Prince Paris stole Helen, the wife of the Greek king Menelaus, leading to ten years of war between Greece and Troy. Then the Chorus recalls how Clytemnestra's husband Agamemnon (Menelaus' brother) sacrificed their daughter Iphigenia to the god Artemis to obtain a favorable wind for the Greek fleet. The Queen appears, and the Chorus asks her why she has ordered sacrifices of thanksgiving. She tells them that a system of beacons has brought word that Troy fell the previous night. The Chorus give thanks to the gods, but wonder if her news is true; a Herald appears and confirms the tidings, describing the army's sufferings at Troy and giving thanks for a safe homecoming. Clytemnestra sends him back to Agamemnon, to tell her husband to come swiftly, but before he departs, the Chorus asks him for news of Menelaus. The Herald replies that a terrible storm seized the Greek fleet on the way home, leaving Menelaus and many others missing. The Chorus sings of the terrible destructive power of Helen's beauty. Agamemnon enters, riding in his chariot with Cassandra, a Trojan Princess whom he has taken as his slave and concubine. Clytemnestra welcomes him, professing her love, and orders a carpet of purple robes spread in front of him as he enters the palace. Agamemnon acts coldly toward her, and says that to walk on the carpet would be an act of hubris, or dangerous pride; she badgers him into walking on the robes, however, and he enters the palace. The Chorus expresses a sense of foreboding, and Clytemnestra comes outside to order Cassandra inside. The Trojan Princess is silent, and the Queen leaves her in frustration. Then Cassandra begins to speak, uttering incoherent prophecies about a curse on the house of Agamemnon. She tells the Chorus that they will see their king dead, says that she will die as well, and then predicts that an avenger will come. After these bold predictions, she seems resigned to her fate, and enters the house. The Chorus' fears grow, and they hear Agamemnon cry out in pain from inside. As they debate what to do, the doors open, and Clytemnestra appears, standing over the corpses of her husband and Cassandra. She declares that she has killed him to avenge Iphigenia, and then is joined by her lover Aegisthus, Agamemnon's cousin, whose brothers were cooked and served to Aegisthus' father by Agamemnon's father. They take over the government, and the Chorus declares that Clytemnestra's son Orestes will return from exile to avenge his father. Characters Agamemnon - The King of Argos, the husband of Clytemnestra, and the commander of the Greek armies during the siege of Troy. Agamemnon is the older brother of Menelaus, whose wife Helen was stolen by a Trojan prince, thus igniting a decade-long war. A great warrior, he sacrificed his daughter Iphigenia in order to obtain a favorable wind to carry the Greek fleet to Troy. During the ten-year conflict, his Queen has plotted his death in order to avenge the killing of their daughter. He appears on stage only briefly, and behaves arrogantly. He goes to his death unaware of his fate. Clytemnestra - The play's protagonist, Clytemnestra is Agamemnon's wife and has ruled Argos in his absence. She plans his murder with ruthless determination, and feels no guilt after his death; she is convinced of her own rectitude and of the

justice of killing the man who killed her daughter. She is, a sympathetic character in many respects, but the righteousness of her crime is tainted by her entanglement with Aegisthus. Even so, Aeschylus makes it clear that Agamemnon's death must be avenged. Chorus - The elder citizens of Argos, who were too old to fight in the Trojan War. They serve as advisors to Queen Clytemnestra during Agamemnon's absence, and provide commentary on the action of the play. Their speeches provide the background for the action, for they foreshadow the King's death when they describe the events of the Trojan War and discuss the dangers of human pride. Cassandra - A Trojan Princess, captured by Agamemnon and carried to Argos as his slave and mistress. She was Apollo's lover. Apollo gave her the gift of prophecy, but when she refused to bear him a child, he punished her by making all around her disbelieve her predictions. She sees the ancestral curse afflicting Agamemnon's family, and predicts both his death and her own, as well as the vengeance brought by Orestes in the next play. Aegisthus - Agamemnon's cousin, and Clytemnestra's lover. His father and Agamemnon's father were rivals for the throne. Agamemnon's father boiled two of his rival's children--Aegisthus' brothers--and served them to him for dinner. Since that time, Aegisthus has been in exile awaiting a chance to seek revenge for the terrible crime. The Watchman - The man assigned to watch for the signal of Troy's fall from the roof of the palace. He is joyful at his king's return, but also is gripped with a sense of foreboding. The Herald - He brings the Chorus news of Agamemnon's safe homecoming. An ardent patriot, he is ecstatic to see the home he thought he had left forever and provides vivid descriptions of the horrors of the war against Troy. Overall Analysis Agamemnon is the first play in a trilogy, the Oresteia, which is considered Aeschylus' greatest work, and perhaps the greatest Greek tragedy. Of the plays in the trilogy, Agamemnon contains the strongest command of language and characterization. The poetry is magnificent and moving, with skillful portrayal of major and minor characters alike. The play's mood carries a heavy sense of impending doom. From the Watchman's opening speech through the Chorus' foreboding words and Cassandra's prophesies, the drama prepares the audience for the King's murder. The actual act of violence occurs off-stage, a traditional practice in Greek tragedy. Thematically, the murder of Agamemnon must be understood in the context of three other acts of violence, all of which precede the action of the play. The first significant violent development in the play is the theft of Helen and the Trojan War that followed; again and again, the Chorus declares that even the deaths following the conflict should be dropped at Helen's door. The second violent act is Agamemnon's sacrifice of his daughter Iphigenia, which justifies Clytemnestra's resolve to murder him. Perhaps the most vile display of violence is the terrible sin of Agamemnon's father, Atreus, who cooked his own brother's children and served them to him. This act justifies Aegisthus' role in the play. But in a broader sense, it is the source of the ancestral curse that pervades the trilogy, as one act of violence leads to another. The title character, Agamemnon, appears only briefly, and comes across as a cold husband and arrogant king. Clytemnestra, with her icy determination and fierce sense of self-righteousness, is far more attractive to the audience; we sympathize with her for much of the play. However, her entanglement with the odious Aegisthus and her murder of the innocent hapless Cassandra remind us that, in the larger context of the trilogy, she is not an avenger but an adulteress and a murderer whose crime leads inexorably to Orestes' vengeance in the next play.

Medea Context Euripides lived during the Golden Age of Athens, the city where he was born and lived most of his years. Born in 484 BC, his infancy saw the repulsion of the Persian invasion, a military victory that secured Athens' political independence and eventual dominance over the Mediterranean world. His death in 406 came as Athens was surrendering its supremacy as a result of its protracted defeat to Sparta, its main rival, in the Peloponnesian War. Sandwiched between these two wars lies a creative period of political, economic, and cultural activity that spawned many of Western civilization's distinctive traits, including the flourishing of tragic drama. The art was mastered by Euripides' older contemporaries, Aeschylus and Sophocles, playwrights who created the dramatic tradition that he would amplify significantly. Although he is reputed to have written 92 plays, of which 17 (more than any other Classical playwright) survive, Euripides' standing as a dramatist has often been disputed, especially during his lifetime. While Aristotle heralded him "the most tragic of poets," he also criticized Euripides' confused handling of plot and the less-than-heroic nature of his protagonists. Aristophanes, a comic dramatist, constantly mocked Euripides' tendency towards word-play and paradox. Euripides' role as a dramatic innovator, however, is unquestionable: the simplicity of his dialogue and its closeness to natural human speech patterns paved the way for dramatic realism, while the emotional vacillations in many of his works created our understanding of melodrama. Admired by Socrates and other philosophers, Euripides also distinguished himself as a free thinker; criticisms of traditional religion and defenses of oppressed groups (especially women and slaves) enter his plays with an explicitness unheard of before him. More than edifying pieces of art, works such as The Bacchae, Trojan Women,Iphigenia at Aulis,Alcetis, and Electra would become basic components of the Athenian citizen's political education.

As with most of the myths recounted in ancient Greek tragedy, the story-line of Euripides' Medea, originally produced in 431 BC, is derived from a collection of tales that circulated informally around him. His audience would have been familiar with its general parameters and many of its specifics. The play's merit consequently lies in its manner of exposition and its emotional focus, which Euripides places squarely in the flights of amoral passion that afflict the protagonist, Medea. Her infamous murders of her own children challenged the Athenian moral universe that continually hovers in the background of the play. Comprehensive Summary Euripedes' Medea opens in a state of conflict. Jason has abandoned his wife, Medea, along with their two children. He hopes to advance his station by remarrying with Glauce, the daughter of Creon, king of Corinth, the Greek city where the play is set. All the events of play proceed out of this initial dilemma, and the involved parties become its central characters. Outside the royal palace, a nurse laments the events that have lead to the present crisis. After a long series of trials and adventures, which ultimately forced Jason and Medea to seek exile in Corinth, the pair had settled down and established their family, achieving a degree of fame and respectability. Jason's recent abandonment of that family has crushed Medea emotionally, to the degree that she curses her own existence, as well as that of her two children. Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for "justice"--at this stage in her thinking, the murder of Creon, Glauce, and Jason. Jason accuses Medea of overreacting. By voicing her grievances so publicly, she has endangered her life and that of their children. He claims that his decision to remarry was in everyone's best interest. Medea finds him spineless, and she refuses to accept his token offers of help. in Corinth, Aegeus, King of Athens, offers Medea sanctuary in his home city in exchange for her knowledge of certain drugs that can cure his sterility. Now guaranteed an eventual haven in Athens, Medea has cleared all obstacles to completing her revenge, a plan which grows to include the murder of her own children; the pain their loss will cause her does not outweigh the satisfaction she will feel in making Jason suffer. For the balance of the play, Medea engages in a ruse; she pretends to sympathize with Jason (bringing him into her confidence) and offers his wife "gifts," a coronet and dress. Ostensibly, the gifts are meant to convince Glauce to ask her father to allow the children to stay in Corinth. The coronet and dress are actually poisoned, however, and their delivery causes Glauce's death. Seeing his daughter ravaged by the poison, Creon chooses to die by her side by dramatically embracing her and absorbing the poison himself. A messenger recounts the gruesome details of these deaths, which Medea absorbs with cool attentiveness. Her earlier state of anxiety, which intensified as she struggled with the decision to commit infanticide, has now given way to an assured determination to fulfill her plans. Against the protests of the chorus, Medea murders her children and flees the scene in a dragon-pulled chariot provided by her grandfather, the Sun-God. Jason is left cursing his lot; his hope of advancing his station by abandoning Medea and marrying Glauce, the conflict which opened the play, has been annihilated, and everything he values has been lost through the deaths that conclude the tragedy. Characters Medea - Protagonist of the play, Medea's homeland is Colchis, an island in the Black Sea, which the Greeks considered the edge of the earth--a territory of barbarians. A sorceress and a princess, she used her powers and influence to help Jason secure the Golden Fleece; then, having fallen in love with him, she fled her country and family to live with Jason in Iolcus, his own home. During the escape across the Mediterranean, she killed her brother and dumped him overboard, so that her pursuers would have to slow down and bury him. While in Iolcus, she again used her devilish cleverness to manipulate the daughters of the local king and rival, Pelias, into murdering their own father. Exiled as murderers, Jason and Medea settled in Corinth, the setting of Euripides' play, where they established a family of two children and gained a favorable reputation. All this precedes the action of the play, which opens with Jason having divorced Medea and taken up with a new family. The play charts Medea's emotional transformation, a progression from suicidal despair to sadistic fury. She eventually avenges Jason's betrayal with a series of murders, concluding with the deaths of her own children. Famously, the pleasure of watching Jason suffer their loss outweighed her own remorse at killing them. Jason - Jason can be considered the play's villain, though his evil stems more from weakness than strength. A former adventurer, he abandons his wife, Medea, in order to marry Glauce, the beautiful young daughter of Creon, King of Corinth. Hoping to advance his station through this second marriage, he only fuels Medea to a revenge that includes the deaths of his new bride, her father, and his children. Jason's tactless self-interest and whiny rationalizations of his own actions make him a weak, unsympathetic character. Children - The offspring of Jason and Medea, the children are presented as naïve and oblivious to the intrigue that surrounds them. Medea uses them as pawns in the murder of Glauce and Creon, and then kills them in the play's culminating horror. Their innocent deaths provide the greatest element of pathos--the tragic emotion of pity--in the play. Chorus - Composed of the women of Corinth, the chorus chiefly serves as a commentator to the action, although it occasionally engages directly in the dialogue. The chorus members fully sympathize with Medea's plight, excepting her eventual decision to murder her own children.

Creon - The King of Corinth, Creon banishes Medea from the city. Although a minor character, Creon's suicidal embrace of his dying daughter provides one of the play's most dramatic moments, and his sentence against Medea lends an urgency to her plans for revenge. Glauce - Daughter of Creon, Glauce is the young, beautiful princess for whom Jason abandons Medea. Her acceptance of the poisoned coronet and dress as "gifts" leads to the first murder of the play. Although she never utters a word, Glauce's presence is constantly felt as an object of Medea's jealousy. (Glauce is also referred to as Creusa.) Aegeus - The King of Athens, Aegeus passes through Corinth after having visited the Oracle at Delphi, where he sought a cure for his sterility. Medea offers him some fertility-inducing drugs in exchange for sanctuary in Athens. His appearance marks a turning point in the play, for Medea moves from being a passive victim to an aggressor after she secures his promise of sanctuary. Messenger - The messenger appears only once in the play--he relates in gruesome, vivid detail the death scenes of Glauce and Creon, which occur offstage. Nurse - Caretaker of the house, the nurse of the children serves as Medea's confidant. Her presence is mainly felt in the play's opening lament and in a few speeches addressing diverse subjects not entirely related to the action of the play. Tutor - A very minor character, the tutor of the children mainly acts as a messenger, as well as the person responsible for shuffling the children around from place to

The Aeneid Context VIRGIL, THE PREEMINENT POET of the Roman Empire, was born Publius Vergilius Maro on October 15, 70 B.C., near Mantua, a city in northern Italy. The son of a farmer, Virgil studied in Cremona, then in Milan, and finally in Rome. Around 41 B.C., he returned to Mantua to begin work on his Eclogues, which he published in 37 B.C. Soon afterward, civil war forced him to flee south to Naples, where seven years later he finished his second work, the Georgics, a long poem on farming. Virgil’s writing gained him the recognition of the public, wealth from patrons, and the favor of the emperor. Virgil lived at the height of the first age of the Roman Empire, during the reign of the emperor Octavian, later known as Augustus. Before Augustus became emperor, though, internal strife plagued the Roman government. During Virgil’s youth, the First Triumvirate—Julius Caesar, Pompey, and Crassus—governed the Roman Republic. Crassus was killed around 53 B.C., and Caesar initiated civil war against Pompey. After defeating Pompey, Caesar reigned alone until the Ides of March in 44 B.C., when Brutus and Cassius, two senators, assassinated him. Civil war erupted between the assassins and the Second Triumvirate—Octavian, Antony, and Lepidus. By 36 B.C. only Octavian and Antony remained, and they began warring against each other. At the Battle of Actium in 31 B.C., Octavian defeated Antony and his ally Cleopatra of Egypt, finally consolidating power in himself alone. Four years later, he assumed the title Augustus. Virgil witnessed all this turmoil, and the warring often disrupted his life. Immediately after finishing the Georgics, Virgil began his masterwork, the Aeneid. He was fortunate enough to enter the good graces of Augustus, and, in part, the Aeneid serves to legitimize Augustus’s reign. The Aeneid tells the story of the Trojan hero Aeneas’s perilous flight from Troy to Italy following the Trojan War. In Italy, Aeneas’s descendents would go on to found Rome. In the epic, Virgil repeatedly foreshadows the coming of Augustus, perhaps to silence critics who claimed that he achieved power through violence and treachery. (Whether or not Virgil truly believed all the praise he heaped upon Augustus is a matter of debate.) When Rome was at its height, the easiest way to justify the recent brutal events was to claim that the civil wars and the changes in leadership had been decreed by fate to usher in the reign of the great Augustus. Yet the Aeneid is by no means a purely political work; like other epic poems, its subject stands on its own as a story for all time. Virgil did not invent the story that Rome descended from Troy; he crafted the events narrated in the Aeneid from an existing tradition surrounding Aeneas that extended from the ancient Greek poet Homer through the contemporary Roman historian Livy. In Book XX of the Iliad, Aeneas faces off with Achilles, and we learn about Aeneas’s lineage and his reputation for bravery. However, in that scene, he is no match for Achilles, who has been outfitted in armor forged by the divine smith Hephaestus. Poseidon rescues Aeneas from certain doom and praises the Trojan for his piety. Poseidon also prophesies that Aeneas will survive the Trojan War and assume leadership over the Trojan people. Ancient accounts of Aeneas’s postwar wanderings vary. Greek art from the sixth century B.C. portrays Aeneas carrying his father, Anchises, out from the burning ruins of Troy. Archaeological evidence suggests that the myth of Aeneas was often depicted in art on the Italian mainland as early as the sixth century B.C. The settlement of Aeneas and the Trojans in Italy and their connection with the foundation of Rome entered the written tradition centuries after Homer, at the end of the third century B.C. Earlier poets, including the Roman Varro, had connected Dido and Aeneas, but Virgil was the first to tie all the elements of Aeneas’s story together in epic form. After eleven years of composition, the meticulous Virgil did not consider the Aeneid fit for publication. He planned to spend three years editing it, but fell ill returning from a trip to Greece. Just before his death on September 21, 19 B.C., he ordered the manuscript of the Aeneid to be burned, because he still considered it unfinished. Augustus intervened, however, arranging for the poem to be published against Virgil’s wishes.

Virgil’s masterful and meticulously crafted poetry earned him a legacy as the greatest poet in the Latin language. Throughout the Middle Ages and into the Renaissance, his fame only grew. Before the invention of the printing press, when classical texts, transmitted by the hands of scribes, were scarce, Virgil’s poetry was available to the literate classes, among whom he was regarded as the most significant writer of antiquity. He inspired poets across languages, including Dante in Italian, Milton in English, and an anonymous French poet who reworked the Aeneid into the medieval romance Le Roman d’Eneas. In what became a Christian culture, Virgil was viewed as a pagan prophet because several lines in his works were interpreted as predictions of the coming of Christ. Among writers of the Renaissance, Virgil was appreciated for the fluidity of his rigorously structured poetry and his vivid portrayals of human emotion. Modern critics, on the other hand, have been less kind. Virgil’s poetry is often judged in relation to that of his Greek predecessors, especially the Iliad and the Odyssey, epics attributed to Homer that also portray the Trojan War and its aftermath. Most contemporary scholars hold that Virgil’s poetry pales in comparison to Homer’s. Virgil himself often viewed his poetry in light of Homer’s; he invoked such comparisons within the Aeneid and wished to surpass the Greek poet, while still borrowing from him heavily. Virgil’s poetry does not possess the same originality of expression as Homeric epic poetry. The Aeneid shares with the Iliad and the Odyssey a tone of ironic tragedy, as characters act against their own wishes, submit their lives to fate, and often meet dark ends. Most scholars agree that Virgil distinguished himself within the epic tradition of antiquity by representing the broad spectrum of human emotion in his characters as they are subsumed in the historical tides of dislocation and war. Plot Overview ON THE MEDITERRANEAN SEA, Aeneas and his fellow Trojans flee from their home city of Troy, which has been destroyed by the Greeks. They sail for Italy, where Aeneas is destined to found Rome. As they near their destination, a fierce storm throws them off course and lands them in Carthage. Dido, Carthage’s founder and queen, welcomes them. Aeneas relates to Dido the long and painful story of his group’s travels thus far. Aeneas tells of the sack of Troy that ended the Trojan War after ten years of Greek siege. In the final campaign, the Trojans were tricked when they accepted into their city walls a wooden horse that, unbeknownst to them, harbored several Greek soldiers in its hollow belly. He tells how he escaped the burning city with his father, Anchises, his son, Ascanius, and the hearth gods that represent their fallen city. Assured by the gods that a glorious future awaited him in Italy, he set sail with a fleet containing the surviving citizens of Troy. Aeneas relates the ordeals they faced on their journey. Twice they attempted to build a new city, only to be driven away by bad omens and plagues. Harpies, creatures that are part woman and part bird, cursed them, but they also encountered friendly countrymen unexpectedly. Finally, after the loss of Anchises and a bout of terrible weather, they made their way to Carthage. Impressed by Aeneas’s exploits and sympathetic to his suffering, Dido, a Phoenician princess who fled her home and founded Carthage after her brother murdered her husband, falls in love with Aeneas. They live together as lovers for a period, until the gods remind Aeneas of his duty to found a new city. He determines to set sail once again. Dido is devastated by his departure, and kills herself by ordering a huge pyre to be built with Aeneas’s castaway possessions, climbing upon it, and stabbing herself with the sword Aeneas leaves behind. As the Trojans make for Italy, bad weather blows them to Sicily, where they hold funeral games for the dead Anchises. The women, tired of the voyage, begin to burn the ships, but a downpour puts the fires out. Some of the travel-weary stay behind, while Aeneas, reinvigorated after his father visits him in a dream, takes the rest on toward Italy. Once there, Aeneas descends into the underworld, guided by the Sibyl of Cumae, to visit his father. He is shown a pageant of the future history and heroes of Rome, which helps him to understand the importance of his mission. Aeneas returns from the underworld, and the Trojans continue up the coast to the region of Latium. The arrival of the Trojans in Italy begins peacefully. King Latinus, the Italian ruler, extends his hospitality, hoping that Aeneas will prove to be the foreigner whom, according to a prophecy, his daughter Lavinia is supposed to marry. But Latinus’s wife, Amata, has other ideas. She means for Lavinia to marry Turnus, a local suitor. Amata and Turnus cultivate enmity toward the newly arrived Trojans. Meanwhile, Ascanius hunts a stag that was a pet of the local herdsmen. A fight breaks out, and several people are killed. Turnus, riding this current of anger, begins a war. Aeneas, at the suggestion of the river god Tiberinus, sails north up the Tiber to seek military support among the neighboring tribes. During this voyage, his mother, Venus, descends to give him a new set of weapons, wrought by Vulcan. While the Trojan leader is away, Turnus attacks. Aeneas returns to find his countrymen embroiled in battle. Pallas, the son of Aeneas’s new ally Evander, is killed by Turnus. Aeneas flies into a violent fury, and many more are slain by the day’s end. The two sides agree to a truce so that they can bury the dead, and the Latin leaders discuss whether to continue the battle. They decide to spare any further unnecessary carnage by proposing a hand-to-hand duel between Aeneas and Turnus. When the two leaders face off, however, the other men begin to quarrel, and full-scale battle resumes. Aeneas is wounded in the thigh, but eventually the Trojans threaten the enemy city. Turnus rushes out to meet Aeneas, who wounds Turnus badly. Aeneas nearly spares Turnus but, remembering the slain Pallas, slays him instead.

Character List

Mortals Aeneas - The protagonist of the Aeneid. Aeneas is a survivor of the siege of Troy, a city on the coast of Asia Minor. His defining characteristic is piety, a respect for the will of the gods. He is a fearsome warrior and a leader able to motivate his men in the face of adversity, but also a man capable of great compassion and sorrow. His destiny is to found the Roman race in Italy and he subordinates all other concerns to this mission. The Aeneid is about his journey from Troy to Italy, which enables him to fulfill his fate. Dido - The queen of Carthage, a city in northern Africa, in what is now Libya, and lover of Aeneas. Dido left the land of Tyre when her husband was murdered by Pygmalion, her brother. She and her city are strong, but she becomes an unfortunate pawn of the gods in their struggle for Aeneas’s destiny. Her love for Aeneas, provoked by Venus, proves to be her downfall. After he abandons her, she constructs a funeral pyre and stabs herself upon it with Aeneas’s sword. Turnus - The ruler of the Rutulians in Italy. Turnus is Aeneas’s major antagonist among mortals. He is Lavinia’s leading suitor until Aeneas arrives. This rivalry incites him to wage war against the Trojans, despite Latinus’s willingness to allow the Trojans to settle in Latium and Turnus’s understanding that he cannot successfully defy fate. He is brash and fearless, a capable soldier who values his honor over his life. Ascanius - Aeneas’s young son by his first wife, Creusa. Ascanius (also called Iulus) is most important as a symbol of Aeneas’s destiny—his future founding of the Roman race. Though still a child, Ascanius has several opportunities over the course of the epic to display his bravery and leadership. He leads a procession of boys on horseback during the games of Book V and he helps to defend the Trojan camp from Turnus’s attack while his father is away. Anchises - Aeneas’s father, and a symbol of Aeneas’s Trojan heritage. Although Anchises dies during the journey from Troy to Italy, he continues in spirit to help his son fulfill fate’s decrees, especially by guiding Aeneas through the underworld and showing him what fate has in store for his descendants. Creusa - Aeneas’s wife at Troy, and the mother of Ascanius. Creusa is lost and killed as her family attempts to flee the city, but tells Aeneas he will find a new wife at his new home. Sinon - The Greek youth who pretends to have been left behind at the end of the Trojan War. Sinon persuades the Trojans to take in the wooden horse as an offering to Minerva, then lets out the warriors trapped inside the horse’s belly. Latinus - The king of the Latins, the people of what is now central Italy, around the Tiber River. Latinus allows Aeneas into his kingdom and encourages him to become a suitor of Lavinia, his daughter, causing resentment and eventually war among his subjects. He respects the gods and fate, but does not hold strict command over his people. Lavinia - Latinus’s daughter and a symbol of Latium in general. Lavinia’s character is not developed in the poem; she is important only as the object of the Trojan-Latin struggle. The question of who will marry Lavinia—Turnus or Aeneas— becomes key to future relations between the Latins and the Trojans and therefore the Aeneid’s entire historical scheme. Amata - Queen of Laurentum (a region of Latium, in Italy) and wife of Latinus. Amata opposes the marriage of Lavinia, her daughter, to Aeneas and remains loyal throughout to Turnus, Lavinia’s original suitor. Amata kills herself once it is clear that Aeneas is destined to win. Evander - King of Pallanteum (a region of Arcadia, in Italy) and father of Pallas. Evander is a sworn enemy of the Latins, and Aeneas befriends him and secures his assistance in the battles against Turnus. Pallas - Son of Evander, whom Evander entrusts to Aeneas’s care and tutelage. Pallas eventually dies in battle at the hands of Turnus, causing Aeneas and Evander great grief. To avenge Pallas’s death, Aeneas finally slays Turnus, dismissing an initial impulse to spare him. Drancës - A Latin leader who desires an end to the Trojan-Latin struggle. Drancës questions the validity of Turnus’s motives at the council of the Latins, infuriating Turnus. Camilla - The leader of the Volscians, a race of warrior maidens. Camilla is perhaps the only strong mortal female character in the epic. Juturna - Turnus’s sister. Juno provokes Juturna into inducing a full-scale battle between the Latins and the Trojans by disguising herself as an officer and goading the Latins after a treaty has already been reached. Achates - A Trojan and a personal friend of Aeneas. Gods and Goddesses Juno - The queen of the gods, the wife and sister of Jupiter, and the daughter of Saturn. Juno (Hera in Greek mythology) hates the Trojans because of the Trojan Paris’s judgment against her in a beauty contest. She is also a patron of Carthage and knows that Aeneas’s Roman descendants are destined to destroy Carthage. She takes out her anger on Aeneas throughout the epic, and in her wrath acts as his primary divine antagonist. Venus - The goddess of love and the mother of Aeneas. Venus (Aphrodite in Greek mythology) is a benefactor of the Trojans. She helps her son whenever Juno tries to hurt him, causing conflict among the gods. She is also referred to as Cytherea, after Cythera, the island where she was born and where her shrine is located. Jupiter - The king of the gods, and the son of Saturn. While the gods often struggle against one another in battles of will, Jupiter’s will reigns supreme and becomes identified with the more impersonal force of fate. Therefore, Jupiter (also known as Jove, and called Zeus in Greek mythology) directs the general progress of Aeneas’s destiny, ensuring that Aeneas is never permanently thrown off his course toward Italy. Jupiter’s demeanor is controlled and levelheaded compared to the volatility of Juno and Venus.

Neptune - God of the sea, and generally an ally of Venus and Aeneas. Neptune (Poseidon in Greek mythology) calms the storm that opens the epic and conducts Aeneas safely on the last leg of his voyage. Mercury - The messenger god. The other gods often send Mercury (Hermes in Greek mythology) on errands to Aeneas. Aeolus - The god of the winds, enlisted to aid Juno in creating bad weather for the Trojans in Book I. Cupid - A son of Venus and the god of erotic desire. In Book I, Cupid (Eros in Greek mythology) disguises himself as Ascanius, Aeneas’s son, and causes Dido to fall in love with Aeneas. Allecto - One of the Furies, or deities who avenge sins, sent by Juno in Book IV to incite the Latin people to war against the Trojans. Vulcan - God of fire and the forge, and husband of Venus. Venus urges Vulcan (Hephaestus in Greek mythology) to craft a superior set of arms for Aeneas, and the gift serves Aeneas well in his battle with Turnus. Tiberinus - The river god associated with the Tiber River, where Rome will eventually be built. At Tiberinus’s suggestion, Aeneas travels upriver to make allies of the Arcadians. Saturn - The father of the gods. Saturn (Chronos in Greek mythology) was king of Olympus until his son Jupiter overthrew him. Minerva - The goddess who protects the Greeks during the Trojan War and helps them conquer Troy. Like Juno, Minerva (Pallas Athena in Greek mythology) is motivated against the Trojans by the Trojan Paris’s judgment that Venus was the most beautiful among goddesses. Apollo - A son of Jupiter and god of the sun. Apollo was born at Delos and helps the Trojans in their voyage when they stop there. Because he is often portrayed as an archer, many characters invoke his name before they fire a shaft in battle. Characters from Homer’s Iliad Relevant to the Aeneid Ulysses - The hero of Homer’s Odyssey, and one of the captains of the Greek army that takes Troy. Ulysses (Odysseus in Greek lore), like Aeneas, must make a long and treacherous voyage before he finds home again, and references to his whereabouts in the Aeneid help situate Aeneas’s wanderings in relation to Ulysses’. Achilles - The greatest of the Greek warriors. Achilles slew the Trojan hero Hector during the war and is the tragic hero of the Iliad. Hector - The greatest of the Trojan warriors, killed at Troy. Hector is in some ways a parallel figure to Turnus, who also defends his native city to the death. Andromachë - Hector’s wife, who survives the siege of Troy. Andromachë meets Aeneas in his wanderings, tells him her story, and advises his course to Italy. Paris - A Trojan prince, son of Priam and Hecuba, and brother of Hector. The handsomest of men, Paris is asked to judge which goddess is most beautiful: Venus, Juno, or Minerva. Venus promises him Helen as his wife in exchange for his judgment, so Paris selects Venus. This selection inspires the permanent wrath of Juno against the Trojans. Stealing Helen from her Greek husband, Menelaus, Paris provokes the Trojan War. Helen - The most beautiful of mortal women and wife of Menelaus. Helen’s abduction to Troy by Paris sparks the Trojan War. Menelaus - A Greek king who wed Helen and made a pact with her other suitors to fight anyone who tried to steal her. When Paris took Helen, the pact was invoked and the Trojan War began. Agamemnon - The leader of the Greek army at Troy, and the king of Argos, a city in Greece. Upon his return from the war, Agamemnon is killed by his adulterous wife, Clytemnestra. Priam - The king of Troy. Priam is slain before Aeneas’s eyes during the Greeks’ sacking of Troy. Pyrrhus - The son of Achilles. Pyrrhus, also called Neoptolemus, appears in Aeneas’s account of the siege of Troy as the brutal murderer of Priam and Priam’s sons. Analysis of Major Characters Aeneas As the son of the Trojan mortal Anchises and Venus, the goddess of beauty and erotic love, Aeneas enjoys a special divine protection. He is chosen to survive the siege of Troy and to lay the foundations in Italy for the glory of the Roman Empire. In the Aeneid, Aeneas’s fate as Rome’s founder drives all the action, and the narrative constantly points out that Aeneas’s heroism owes as much to his legacy as to his own actions. Aeneas serves as the vehicle through which fate carries out its historical design. As a Trojan leader, Aeneas respects prophecy and attempts to incorporate the idea of his own destiny into his actions, in spite of emotional impulses that conflict with his fated duties. His ability to accept his destined path despite his unhappiness in doing so makes him a graceful hero and a worthy recipient of the honor and favor the gods bestow upon him. His compassion for the sufferings of others, even in conjunction with a single-minded devotion to his duty, is another aspect of his heroism. Sympathetic to the weariness of others on the journey, he delivers speeches to his fleet to keep the men’s spirits high. Aeneas’s personal investment in the future of Rome increases as the story progresses. The events of Book V, in which the Trojans sail away from Carthage toward Italy, and Book VI, in which Aeneas visits his father in the realm of the dead, depict Aeneas’s growth as a leader. In Book V, he shows his sympathy for the woes of others by allowing the crippled and unwilling to stay behind. He also grows in compassion in the underworld when he observes the lot of the unburied dead. He carries these lessons into the war that follows, taking care to ensure the proper burial of both ally and enemy.

When, in the underworld, Aeneas’s father, Anchises, presents a tableau of the events that will lead to Rome’s pinnacle, Aeneas comes to understand his historical role with greater clarity and immediacy. The scenes depicted later in the epic on the shield made by Vulcan further focus Aeneas’s sentiments and actions toward his destined future. There are moments, of course, when Aeneas seems to lose track of his destiny—particularly during his dalliance with Dido in Carthage. Aeneas is recalled to his duty in this case not by a long historical vision, but by an appeal from Jupiter to his obligation to his son, Ascanius, to whom Aeneas is devoted. Even prior to Virgil’s treatment of the Trojan War, Aeneas held a place in the classical tradition as a figure of great piety, just as Ulysses was known for his cunning and Achilles for his rage in battle. The value Aeneas places on family is particularly evident in the scene in which he escorts his father and son out of Troy, bearing his elderly father on his back. He behaves no less honorably toward the gods, earnestly seeking to find out their wishes and conform to them as fully as possible. His words to Dido in Books IV and VI express his commitment to obey fate rather than indulge his feelings of genuine romantic love. This subordination of personal desire to duty defines Aeneas’s character and earns him the repeated moniker “pious Aeneas.” His behavior contrasts with Juno’s and Turnus’s in this regard, as those characters both fight fate every step of the way. Dido Before Aeneas’s arrival, Dido is the confident and competent ruler of Carthage, a city she founded on the coast of North Africa. She is resolute, we learn, in her determination not to marry again and to preserve the memory of her dead husband, Sychaeus, whose murder at the hands of Pygmalion, her brother, caused her to flee her native Tyre. Despite this turmoil, she maintains her focus on her political responsibilities. Virgil depicts the suddenness of the change that love provokes in the queen with the image of Dido as the victim of Cupid’s arrow, which strikes her almost like madness or a disease. Dido tells her sister that a flame has been reignited within her. While flames and fire are traditional, almost clichéd images associated with love, fire is also a natural force of destruction and uncontrollable chaos. Dido risks everything by falling for Aeneas, and when this love fails, she finds herself unable to reassume her dignified position. By taking Aeneas as a lover, she compromises her -previously untainted loyalty to her dead husband’s memory. She loses the support of Carthage’s citizens, who have seen their queen indulge an amorous obsession at the expense of her civic responsibilities. Further, by dallying with another foreigner, Dido alienates the local African chieftains who had approached her as suitors and now pose a military threat. Her irrational obsession drives her to a frenzied suicide, out of the tragedy of her situation and the pain of lost love, but also out of a sense of diminished possibilities for the future. Dido plays a role in the first four books of the epic similar to that which Turnus plays at the end. She is a figure of passion and volatility, qualities that contrast with Aeneas’s order and control, and traits that Virgil associated with Rome itself in his own day. Dido also represents the sacrifice Aeneas makes to pursue his duty. If fate were to allow him to remain in Carthage, he would rule a city beside a queen he loves without enduring the further hardships of war. Aeneas encounters Dido’s shade in the underworld just before the future legacy of Rome is revealed to him, and again he admits that his abandonment of the queen was not an act of his own will. This encounter with lost love, though poignant, is dwarfed by Anchises’ subsequent revelation of the glory of Rome. Through Dido, Virgil affirms order, duty, and history at the expense of romantic love. Turnus Turnus is a counterpart to Dido, another of Juno’s protégés who must eventually perish in order for Aeneas to fulfill his destiny. Both Turnus and Dido represent forces of irrationality in contrast to Aeneas’s pious sense of order. Dido is undone by her romantic desire, Turnus by his unrelenting rage and pride. He is famous for courage and skill in battle, and justly so: he has all the elements of a hero. What distinguishes Turnus from Aeneas, besides his unmitigated fury in battle, is his willfulness. He tries to carve out his own understanding of history with his prediction of his own success, based on the events of the Trojan past, as told in Homer’s Iliad. Though Turnus may appear to us a Latin version of Achilles, the raging hero of the Iliad, Turnus’s powers as a warrior are not enough to guarantee him victory. Jupiter has decreed another destiny for Turnus, an outcome Turnus refuses to accept. Turnus’s interpretation of signs and omens is similarly stubborn. He interprets them to his own advantage rather than seeking their true meaning, as Aeneas does. Turnus’s character changes in the last few battle scenes, when we see him gradually lose confidence as he comes to understand and accept his tragic fate. He is angry earlier when Juno tries to protect him by luring him out of the battle and onto a ship. In this episode she humiliates him, making him look like a coward rather than the hero he so desperately wants to be. By the final scenes, however, his resistance to the aid of Juturna, his sister, is motivated no longer by a fiery determination to fight but by a quiet resolve to meet his fate and die honorably. Themes, Motifs & Symbols Themes Themes are the fundamental and often universal ideas explored in a literary work. The Primacy of Fate The direction and destination of Aeneas’s course are preordained, and his various sufferings and glories in battle and at sea over the course of the epic merely postpone this unchangeable destiny. The power of fate stands above the power of the gods in the hierarchy of supernatural forces. Often it is associated with the will of Jupiter, the most powerful of the

Olympians. Because Jupiter’s will trumps the wills of all others, the interference in Aeneas’s life by the lesser gods, who strive to advance their personal interests as much as they can within the contours of the larger destiny, do not really affect the overall outcome of events. The development of individual characters in the epic is apparent in the readiness and resistance with which they meet the directives of fate. Juno and Turnus both fight destiny every step of the way, and so the epic’s final resolution involves a transformation in each of them, as a result of which they resign themselves to fate and allow the story, at last, to arrive at its destined end. Dido desires Aeneas, whom fate denies her, and her desire consumes her. Aeneas preserves his sanity, as well as his own life and those of his men, by subordinating his own anxieties and desires to the demands of fate and the rules of piety. Fate, to Virgil’s Roman audience, is a divine, religious principle that determines the course of history and has culminated in the Roman Empire. The Sufferings of Wanderers The first half of the Aeneid tells the story of the Trojans’ wanderings as they make their way from Troy to Italy. Ancient culture was oriented toward familial loyalty and geographic origin, and stressed the idea that a homeland is one’s source of identity. Because homelessness implies instability of both situation and identity, it is a form of suffering in and of itself. But Virgil adds to the sufferings of the wandering Trojans by putting them at the mercy of forces larger than themselves. On the sea, their fleet buffeted by frequent storms, the Trojans must repeatedly decide on a course of action in an uncertain world. The Trojans also feel disoriented each time they land on an unknown shore or learn where they are without knowing whether it is the place where they belong. As an experience that, from the point of view of the Trojans, is uncertain in every way, the long wanderings at sea serve as a metaphor for the kind of wandering that is characteristic of life in general. We and Virgil’s Roman audience know what fate has in store for the Trojans, but the wandering characters themselves do not. Because these individual human beings are not always privy to the larger picture of destiny, they are still vulnerable to fears, surprises, desires, and unforeseen triumphs. The Glory of Rome Virgil wrote the Aeneid during what is known as the Golden Age of the Roman Empire, under the auspices of Rome’s first emperor, Caesar Augustus. Virgil’s purpose was to write a myth of Rome’s origins that would emphasize the grandeur and legitimize the success of an empire that had conquered most of the known world. The Aeneid steadily points toward this already realized cultural pinnacle; Aeneas even justifies his settlement in Latium in the same manner that the empire justified its settlement in numerous other foreign territories. Virgil works backward, connecting the political and social situation of his own day with the inherited tradition of the Greek gods and heroes, to show the former as historically derived from the latter. Order and good government triumph emphatically over the Italian peoples, whose world prior to the Trojans’ arrival is characterized as a primitive existence of war, chaos, and emotional irrationality. By contrast, the empire under Augustus was generally a world of peace, order, and emotional stability. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Prophecies and Predictions Prophecy and prediction take many forms in the Aeneid, including dreams, visitations from the dead, mysterious signs and omens, and direct visitations of the gods or their divine messengers. These windows onto the future orient mortal characters toward fate as they try to glean, sometimes clearly and sometimes dimly, what is to come. Virgil’s audience, however, hears these predictions with the advantage of hindsight, looking backward to observe the realization of an already accomplished fate. As observers who know about the future, the audience is in the same position as the gods, and the tension between the audience’s and the characters’ perspectives therefore emulates the difference between the position of mortals and that of gods. Founding a New City The mission to build a new city is an obsession for Aeneas and the Trojans. In Book II, Aeneas relates the story of Troy’s destruction to Dido, who is herself recently displaced and in the process of founding a new city of her own. In Book III, Virgil relates several attempts undertaken by the Trojans to lay the foundations for a city, all of which were thwarted by ill omens or plague. Aeneas also frequently uses the image of the realized city to inspire his people when their spirits flag. The walls, foundation, or towers of a city stand for civilization and order itself, a remedy for the uncertainty, irrationality, and confusion that result from wandering without a home. Vengeance Avenging a wrong, especially the death of a loved one, is an important element of heroic culture and a pervasive motif in the Aeneid. The most prominent instance of vengeance comes in the final lines of the poem. Aeneas, having decided to spare Turnus, changes his mind when reminded of the slain Pallas, whose belt Turnus wears as a trophy. It would be considered dishonorable and disloyal to allow Pallas’s death go unpunished. Vengeance comes in other, perhaps less noble, forms as well. Dido’s suicide is at least partly an act of revenge on Aeneas, and she curses him as one of her last acts. The Harpies act out of vengefulness when they curse Aeneas for having killed their livestock. Similarly, the struggles of the gods against one another are likewise motivated by spite and revenge: the history of bruised vanity, left over from Paris’s judgment of Venus as the fairest goddess, largely motivates Juno’s aggressive behavior against the Trojans and Venus, their divine protector. Symbols

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. Flames Fire symbolizes both destruction and erotic desire or love. With images of flames, Virgil connects the two. Paris’s desire for Helen eventually leads to the fires of the siege of Troy. When Dido confesses her love for Aeneas to Anna, her sister, she begins, “I recognize / the signs of the old flame, of old desire” (IV.31–32). Dido also recalls her previous marriage in “the thought of the torch and the bridal bed” (IV.25). Torches limit the power of flames by controlling them, but the new love ignited in Dido’s heart is never regulated by the institution of marriage, “the bridal bed.” The flames she feels do not keep her warm but rather consume her mind. Virgil describes the way she dies in the synonymous terms “enflamed and driven mad” (IV.965). The Golden Bough According to the Sibyl, the priestess of Apollo, the golden bough is the symbol Aeneas must carry in order to gain access to the underworld. It is unusual for mortals to be allowed to visit the realm of the dead and then return to life. The golden bough is therefore the sign of Aeneas’s special privilege. The Gates of War The opening of these gates indicates a declaration of war in a tradition that was still recognized even in Virgil’s own day. That it is Juno rather than a king or even Turnus who opens the gates emphasizes the way immortal beings use mortals to settle scores. The Gates of War thus symbolize the chaos of a world in which divine force, often antagonistic to the health and welfare of mortals, overpowers human will and desire. The Trojan Hearth Gods The hearth gods of Troy, or penates as they are called in Latin, are mentioned repeatedly throughout the epic. They are symbols of locality and ancestry, tribal gods associated specifically with the city of Troy, who reside in the household hearth. Aeneas gathers them up along with his family when he departs from his devastated home, and they symbolize the continuity of Troy as it is transplanted to a new physical location. Weather The gods use weather as a force to express their will. The storm that Juno sends at the beginning of the epic symbolizes her rage. Venus, on the other hand, shows her affection for the Trojans by bidding the sea god, Neptune, to protect them. In Book IV, Venus and Juno conspire to isolate Dido and Aeneas in a cave by sending a storm to disrupt their hunting trip, symbolizing the rupture of normal social codes as well. Greek and Roman mythology has a tendency to make its symbols literal in this way—to connect the seen (a storm, for example) with the unseen (divine will) causally and dramatically. Book IV Summary The flame of love for Aeneas that Cupid has lit in Dido’s heart only grows while she listens to his sorrowful tale. She hesitates, though, because after the death of her husband, Sychaeus, she swore that she would never marry again. On the other hand, as her sister Anna counsels her, by marrying Aeneas she would increase the might of Carthage, because many Trojan warriors follow Aeneas. For the moment, consumed by love, Dido allows the work of city building to fall by the wayside. Juno sees Dido’s love for Aeneas as a way to keep Aeneas from going to Italy. Pretending to make a peace offering, Juno suggests to Venus that they find a way to get Dido and Aeneas alone together. If they marry, Juno suggests, the Trojans and the Tyrians would be at peace, and she and Venus would end their feud. Venus knows Juno is just trying to keep the Trojans from Italy but allows Juno to go ahead anyway. One day when Dido, her court, and Aeneas are out hunting, Juno brings a storm down upon them to send the group scrambling for shelter and arranges for Aeneas and Dido to wind up in a cave by themselves. They make love in the cave and live openly as lovers when they return to Carthage. Dido considers them to be married though the union has yet to be consecrated in ceremony. Anxious rumors spread that Dido and Aeneas have surrendered themselves entirely to lust and have begun to neglect their responsibilities as rulers. When Jupiter learns of Dido and Aeneas’s affair, he dispatches Mercury to Carthage to remind Aeneas that his destiny lies elsewhere and that he must leave for Italy. This message shocks Aeneas—he must obey, but he does not know how to tell Dido of his departure. He tries to prepare his fleet to set sail in secret, but the queen suspects his ploy and confronts him. In a rage, she insults him and accuses him of stealing her honor. While Aeneas pities her, he maintains that he has no choice but to follow the will of the gods: “I sail for Italy not of my own free will” (IV.499). As a last effort, Dido sends Anna to try to persuade the Trojan hero to stay, but to no avail. Dido writhes between fierce love and bitter anger. Suddenly, she appears calm and instructs Anna to build a great fire in the courtyard. There, Dido says, she can rid Aeneas from her mind by burning all the clothes and weapons he has left behind and even the bed they slept on. Anna obeys, not realizing that Dido is in fact planning her own death—by making the fire her own funeral pyre. As night falls, Dido’s grief leaves her sleepless. Aeneas does sleep, but in his dreams, Mercury visits him again to tell him that he has delayed too long already and must leave at once. Aeneas awakens and calls his men to the ships, and they set sail. Dido sees the fleet leaving and falls into her final despair. She can no longer bear to live. Running out to the courtyard, she climbs upon the pyre and unsheathes a sword Aeneas has left behind. She throws herself upon the blade and with her

last words curses her absent lover. As Anna and the servants run up to the dying queen, Juno takes pity on Dido and ends her suffering and her life. Analysis Although her relationship with Aeneas spans only this one book of the Aeneid, Dido has become a literary icon for the tragic lover, like Shakespeare’s Romeo and Juliet. Though at times Aeneas’s happiness in his love for Dido seems to equal hers, it is with considerably less grief and anxiety that he is able to leave her in Carthage and go back about the business of bringing the survivors of Troy to Italy and founding Rome. Whereas Dido not only loves Aeneas but hopes he and his warriors will strengthen her city, Aeneas’s actions are the result of a momentary abandonment of his true duties and responsibilities. He indulges temporarily in romance and the pleasures of the flesh, but when Jupiter, through Mercury, reminds Aeneas of his destiny, he is dutiful and ready to resume his mission. When Aeneas says good-bye to Dido, we see two sides to the hero as in Book I, when he hides his worries to appear brave before his crew. Aeneas’s statement that he is forced to sail to Italy and Virgil’s remark that Aeneas “struggle[s] with desire to calm and comfort [Dido] in all her pain” demonstrate Aeneas’s conflicted nature (IV.546–547). He piously carries out the duties allotted him by fate; though he feels emotions and experiences desires, he is powerless to act on them. From Virgil’s perspective, Aeneas is not heartless, as Dido thinks him, but merely capable of subordinating matters of the heart to the demands of duty. Aeneas’s reminder to Dido that they were never officially married suggests, somewhat dubiously, that had they entered into such an ordained commitment he would not leave. But, he argues, without a true marriage, he is sacrificing only his own desires by leaving Dido. Virgil treats love as he treats the gods—as an outside force acting upon mortals, not a function of the individual’s free will or innate identity. He does not idealize love; rather, he associates it with imagery linked to madness, fire, or disease, presenting love as a force that acts on Dido with a violence that is made literal by the end of Book IV in her suicide. Virgil’s language in the first lines of the book indicates that Dido’s emotions corrode her self-control; he describes her love as “inward fire eating her away” (IV.3). Later, Dido’s decision to have a funeral pyre erected and then kill herself upon it returns to this imagery, and Virgil compares Dido’s suicide to a city taken over by enemies, “As though . . . / . . . / Flames billowed on the roofs of men and gods” (IV.927–929). Cupid’s arrow, shot to promote love between Aeneas and Dido, causes hatred, death, and destruction. Love is at odds with law and fate, as it distracts its victims from their responsibilities. While with Aeneas, Dido abandons her construction of Carthage. She even admits to Aeneas that her own subjects have grown to hate her because of her selfish actions. Aeneas, too, must move on because the time he spends with Dido only keeps him from his selfless task of founding an empire. In the Aeneid, civic responsibility resides with the male. An attitude that might be termed misogynistic seeps into Virgil’s descriptions of Juno and even Dido. Aeneas’s dream-vision of Mercury articulates this sentiment: “woman’s a thing / forever fitful and forever changing” (IV.792–793). Virgil clearly enjoys making Juno look foolish, and he also likes to depict Juno’s vain efforts in comic terms as a domestic quarrel—a battle of wills between husband and wife played out before an audience that knows Jupiter has the power in the divine family. Dido also shows herself to be less responsible than her partner. Whereas Dido kills herself for love, leaving the city she founded without a leader, Aeneas returns to his course, guiding the refugees of a lost city to the foundation of a new city. ------------------------------------------------------------------------------------------------------------------------------------------------------------The Iliad Context NEARLY THREE THOUSAND YEARS after they were composed, the Iliad and the Odyssey remain two of the most celebrated and widely read stories ever told, yet next to nothing is known about their composer. He was certainly an accomplished Greek bard, and he probably lived in the late eighth and early seventh centuries B.C. Authorship is traditionally ascribed to a blind poet named Homer, and it is under this name that the works are still published. Greeks of the third and second centuries B.C., however, already questioned whether Homer existed and whether the two epics were even written by a single individual. Most modern scholars believe that even if a single person wrote the epics, his work owed a tremendous debt to a long tradition of unwritten, oral poetry. Stories of a glorious expedition to the East and of its leaders’ fateful journeys home had been circulating in Greece for hundreds of years before the Iliad and Odyssey were composed. Casual storytellers and semiprofessional minstrels passed these stories down through generations, with each artist developing and polishing the story as he told it. According to this theory, one poet, multiple poets working in collaboration, or perhaps even a series of poets handing down their work in succession finally turned these stories into written works, again with each adding his own touch and expanding or contracting certain episodes in the overall narrative to fit his taste. Although historical, archaeological, and linguistic evidence suggests that the epics were composed between 750 and 650 B.C. they are set in Mycenaean Greece in about the twelfth century B.C., during the Bronze Age. This earlier period, the Greeks believed, was a more glorious and sublime age, when gods still frequented the earth and heroic, godlike mortals with superhuman attributes populated Greece. Because the two epics strive to evoke this pristine age, they are written in a high style and generally depict life as it was believed to have been led in the great kingdoms of the Bronze Age. The Greeks are often referred to as “Achaeans,” the name of a large tribe occupying Greece during the Bronze Age.

But Homer’s reconstruction often yields to the realities of eighth- and seventh-century B.C. Greece. The feudal social structure apparent in the background of the Odyssey seems more akin to Homer’s Greece than to Odysseus’s, and Homer substitutes the pantheon of deities of his own day for the related but different gods whom Mycenaean Greeks worshipped. Many other minor but obvious anachronisms—such as references to iron tools and to tribes that had not yet migrated to Greece by the Bronze Age—betray the poem’s later, Iron Age origins. For centuries, many scholars believed that the Trojan War and its participants were entirely the creation of the Greek imagination. But in the late nineteenth century, an archaeologist named Heinrich Schliemann declared that he had discovered the remnants of Troy. The ruins that he uncovered sit a few dozen miles off of the Aegean coast in northwestern Turkey, a site that indeed fits the geographical descriptions of Homer’s Troy. One layer of the site, roughly corresponding to the point in history when the fall of Troy would have taken place, shows evidence of fire and destruction consistent with a sack. Although most scholars accept Schliemann’s discovered city as the site of the ancient city of Troy, many remain skeptical as to whether Homer’s Trojan War ever really took place. Evidence from Near Eastern literature suggests that episodes similar to those described in the Iliad may have circulated even before Schliemann’s Troy was destroyed. Nonetheless, many scholars now admit the possibility that some truth may lie at the center of the Iliad, hidden beneath many layers of poetic embellishment. Like the Odyssey, the Iliad was composed primarily in the Ionic dialect of Ancient Greek, which was spoken on the Aegean islands and in the coastal settlements of Asia Minor, now modern Turkey. Some scholars thus conclude that the poet hailed from somewhere in the eastern Greek world. More likely, however, the poet chose the Ionic dialect because he felt it to be more appropriate for the high style and grand scope of his work. Slightly later Greek literature suggests that poets varied the dialects of their poems according to the themes that they were treating and might write in dialects that they didn’t actually speak. Homer’s epics are Panhellenic (encompassing all of Greece) in spirit and use forms from several other dialects. This suggests that Homer suited his poems to the dialect that would best complement his ideas. The Aftermath of the Iliad HE TROJAN WAR HAS NOT YET ENDED at the close of the Iliad. Homer’s audience would have been familiar with the struggle’s conclusion, and the potency of much of Homer’s irony and foreboding depends on this familiarity. What follows is a synopsis of some of the most important events that happen after the Iliad ends. The Death of Achilles In the final books of the Iliad, Achilles refers frequently to his imminent death, about which his mother, Thetis, has warned him. After the end of the poem, at Hector’s funeral feast, Achilles sights the beautiful Polyxena, the daughter of Priam and hence a princess of Troy. Taken with her beauty, Achilles falls in love with her. Hoping to marry her, he agrees to use his influence with the Achaean army to bring about an end to the war. But when he travels to the temple of Apollo to negotiate the peace, Paris shoots him in the heel—the only vulnerable part of his body—with a poisoned arrow. In other versions of the story, the wound occurs in the midst of battle. Achilles’ Armor and the Death of Ajax After Achilles’ death, Ajax and Odysseus go and recover his body. Thetis instructs the Achaeans to bequeath Achilles’ magnificent armor, forged by the god Hephaestus, to the most worthy hero. Both Ajax and Odysseus covet the armor; when it is awarded to Odysseus, Ajax commits suicide out of humiliation. The Palladium and the Arrows of Heracles By the time of Achilles’ and Ajax’s deaths, Troy’s defenses have been bolstered by the arrival of a new coalition of allies, including the Ethiopians and the Amazons. Achilles killed Penthesilea, the queen of the Amazons, before his death, but the Trojans continue to repel the Achaean assault. The gods relay to the Achaeans that they must perform a number of tasks in order to win the war: they must recover the arrows of Heracles, steal a statue of Athena called the Palladium from the temple in Troy, and perform various other challenges. Largely owing to the skill and courage of Odysseus and Diomedes, the Achaeans accomplish the tasks, and the Achaean archer Philoctetes later uses the arrows of Heracles to kill Paris. Despite this setback, Troy continues to hold against the Achaeans. The Fall of Troy The Achaean commanders are nearly ready to give up; nothing can penetrate the massive walls of Troy. But before they lose heart, Odysseus concocts a plan that will allow them to bypass the walls of the city completely. The Achaeans build a massive, hollow, wooden horse, large enough to hold a contingent of warriors inside. Odysseus and a group of soldiers hide in the horse, while the rest of the Achaeans burn their camps and sail away from Troy, waiting in their ships behind a nearby island. The next morning, the Trojans peer down from the ramparts of their wall and discover the gigantic, mysterious horse. They also discover a lone Achaean soldier named Sinon, whom they take prisoner. As instructed by Odysseus, Sinon tells the Trojans that the Achaeans have incurred the wrath of Athena for the theft of the Palladium. They have left Sinon as a sacrifice to the goddess and constructed the horse as a gift to soothe her temper. Sinon explains that the Achaeans left the horse before the Trojan gates in the hopes that the Trojans would destroy it and thereby earn the wrath of Athena. Believing Sinon’s story, the Trojans wheel the massive horse into the city as a tribute to Athena. That night, Odysseus and his men slip out of the horse, kill the Trojan guards, and fling open the gates of Troy to the Achaean army, which has meanwhile approached the city again. Having at last penetrated the wall, the Achaeans massacre the citizens of Troy, plunder the city’s riches, and burn the buildings to the ground. All of the Trojan men are killed except for a small group

led by Aeneas, who escapes. Helen, whose loyalties have shifted back to the Achaeans since Paris’s death, returns to Menelaus, and the Achaeans at last set sail for home. After the War The fates of many of the Iliad’s heroes after the war occupy an important space in Greek mythology. Odysseus, as foretold, spends ten years trying to return to Ithaca, and his adventures form the subject of Homer’s other great epic, the Odyssey. Helen and Menelaus have a long and dangerous voyage back to their home in Sparta, with a long stay in Egypt. In the Odyssey, Telemachus travels to Sparta in search of his father, Odysseus, and finds Helen and Menelaus celebrating the marriage of their daughter, Hermione. Agamemnon, who has taken Priam’s daughter Cassandra as a slave, returns home to his wife, Clytemnestra, and his kingdom, Mycenae. Ever since Agamemnon’s sacrifice of Iphigeneia at the altar of Athena, however, Clytemnestra has nurtured a vast resentment toward her husband. She has taken a man named Aegisthus as her lover, and upon Agamemnon’s return, the lovers murder Agamemnon in his bath and kill Cassandra as well. This story is the subject of Aeschylus’s play Agamemnon. Meanwhile, Aeneas, the only great Trojan warrior to survive the fall of Troy, wanders for many years, searching for a new home for his surviving fellow citizens. His adventures are recounted in Virgil’s epic Aeneid. Plot Overview NINE YEARS AFTER THE START OF THE TROJAN WAR, the Greek (“Achaean”) army sacks Chryse, a town allied with Troy. During the battle, the Achaeans capture a pair of beautiful maidens, Chryseis and Briseis. Agamemnon, the leader of the Achaean forces, takes Chryseis as his prize, and Achilles, the Achaeans’ greatest warrior, claims Briseis. Chryseis’s father, Chryses, who serves as a priest of the god Apollo, offers an enormous ransom in return for his daughter, but Agamemnon refuses to give Chryseis back. Chryses then prays to Apollo, who sends a plague upon the Achaean camp. After many Achaeans die, Agamemnon consults the prophet Calchas to determine the cause of the plague. When he learns that Chryseis is the cause, he reluctantly gives her up but then demands Briseis from Achilles as compensation. Furious at this insult, Achilles returns to his tent in the army camp and refuses to fight in the war any longer. He vengefully yearns to see the Achaeans destroyed and asks his mother, the sea-nymph Thetis, to enlist the services of Zeus, king of the gods, toward this end. The Trojan and Achaean sides have declared a cease-fire with each other, but now the Trojans breach the treaty and Zeus comes to their aid. With Zeus supporting the Trojans and Achilles refusing to fight, the Achaeans suffer great losses. Several days of fierce conflict ensue, including duels between Paris and Menelaus and between Hector and Ajax. The Achaeans make no progress; even the heroism of the great Achaean warrior Diomedes proves fruitless. The Trojans push the Achaeans back, forcing them to take refuge behind the ramparts that protect their ships. The Achaeans begin to nurture some hope for the future when a nighttime reconnaissance mission by Diomedes and Odysseus yields information about the Trojans’ plans, but the next day brings disaster. Several Achaean commanders become wounded, and the Trojans break through the Achaean ramparts. They advance all the way up to the boundary of the Achaean camp and set fire to one of the ships. Defeat seems imminent, because without the ships, the army will be stranded at Troy and almost certainly destroyed. Concerned for his comrades but still too proud to help them himself, Achilles agrees to a plan proposed by Nestor that will allow his beloved friend Patroclus to take his place in battle, wearing his armor. Patroclus is a fine warrior, and his presence on the battlefield helps the Achaeans push the Trojans away from the ships and back to the city walls. But the counterattack soon falters. Apollo knocks Patroclus’s armor to the ground, and Hector slays him. Fighting then breaks out as both sides try to lay claim to the body and armor. Hector ends up with the armor, but the Achaeans, thanks to a courageous effort by Menelaus and others, manage to bring the body back to their camp. When Achilles discovers that Hector has killed Patroclus, he fills with such grief and rage that he agrees to reconcile with Agamemnon and rejoin the battle. Thetis goes to Mount Olympus and persuades the god Hephaestus to forge Achilles a new suit of armor, which she presents to him the next morning. Achilles then rides out to battle at the head of the Achaean army. Meanwhile, Hector, not expecting Achilles to rejoin the battle, has ordered his men to camp outside the walls of Troy. But when the Trojan army glimpses Achilles, it flees in terror back behind the city walls. Achilles cuts down every Trojan he sees. Strengthened by his rage, he even fights the god of the river Xanthus, who is angered that Achilles has caused so many corpses to fall into his streams. Finally, Achilles confronts Hector outside the walls of Troy. Ashamed at the poor advice that he gave his comrades, Hector refuses to flee inside the city with them. Achilles chases him around the city’s periphery three times, but the goddess Athena finally tricks Hector into turning around and fighting Achilles. In a dramatic duel, Achilles kills Hector. He then lashes the body to the back of his chariot and drags it across the battlefield to the Achaean camp. Upon Achilles’ arrival, the triumphant Achaeans celebrate Patroclus’s funeral with a long series of athletic games in his honor. Each day for the next nine days, Achilles drags Hector’s body in circles around Patroclus’s funeral bier. At last, the gods agree that Hector deserves a proper burial. Zeus sends the god Hermes to escort King Priam, Hector’s father and the ruler of Troy, into the Achaean camp. Priam tearfully pleads with Achilles to take pity on a father bereft of his son and return Hector’s body. He invokes the memory of Achilles’ own father, Peleus. Deeply moved, Achilles finally relents and returns Hector’s corpse to the Trojans. Both sides agree to a temporary truce, and Hector receives a hero’s funeral. Character List The Achaeans (also called the “Argives” or “Danaans”)

Achilles - The son of the military man Peleus and the sea-nymph Thetis. The most powerful warrior in the Iliad, Achilles commands the Myrmidons, soldiers from his homeland of Phthia in Greece. Proud and headstrong, he takes offense easily and reacts with blistering indignation when he perceives that his honor has been slighted. Achilles’ wrath at Agamemnon for taking his war prize, the maiden Briseis, forms the main subject of the Iliad. Achilles (In-Depth Analysis) Agamemnon (also called “Atrides”) - King of Mycenae and leader of the Achaean army; brother of King Menelaus of Sparta. Arrogant and often selfish, Agamemnon provides the Achaeans with strong but sometimes reckless and selfserving leadership. Like Achilles, he lacks consideration and forethought. Most saliently, his tactless appropriation of Achilles’ war prize, the maiden Briseis, creates a crisis for the Achaeans, when Achilles, insulted, withdraws from the war. Agamemnon (In-Depth Analysis) Patroclus - Achilles’ beloved friend, companion, and advisor, Patroclus grew up alongside the great warrior in Phthia, under the guardianship of Peleus. Devoted to both Achilles and the Achaean cause, Patroclus stands by the enraged Achilles but also dons Achilles’ terrifying armor in an attempt to hold the Trojans back. Odysseus - A fine warrior and the cleverest of the Achaean commanders. Along with Nestor, Odysseus is one of the Achaeans’ two best public speakers. He helps mediate between Agamemnon and Achilles during their quarrel and often prevents them from making rash decisions. Diomedes (also called “Tydides”) - The youngest of the Achaean commanders, Diomedes is bold and sometimes proves impetuous. After Achilles withdraws from combat, Athena inspires Diomedes with such courage that he actually wounds two gods, Aphrodite and Ares. Great Ajax - An Achaean commander, Great Ajax (sometimes called “Telamonian Ajax” or simply “Ajax”) is the second mightiest Achaean warrior after Achilles. His extraordinary size and strength help him to wound Hector twice by hitting him with boulders. He often fights alongside Little Ajax, and the pair is frequently referred to as the “Aeantes.” ittle Ajax - An Achaean commander, Little Ajax is the son of Oileus (to be distinguished from Great Ajax, the son of Telamon). He often fights alongside Great Ajax, whose stature and strength complement Little Ajax’s small size and swift speed. The two together are sometimes called the “Aeantes.” Nestor - King of Pylos and the oldest Achaean commander. Although age has taken much of Nestor’s physical strength, it has left him with great wisdom. He often acts as an advisor to the military commanders, especially Agamemnon. Nestor and Odysseus are the Achaeans’ most deft and persuasive orators, although Nestor’s speeches are sometimes longwinded. Menelaus - King of Sparta; the younger brother of Agamemnon. While it is the abduction of his wife, Helen, by the Trojan prince Paris that sparks the Trojan War, Menelaus proves quieter, less imposing, and less arro-gant than Agamemnon. Though he has a stout heart, Menelaus is not among the mightiest Achaean warriors. Idomeneus - King of Crete and a respected commander. Idomeneus leads a charge against the Trojans in Book 13. Machaon - A healer. Machaon is wounded by Paris in Book 11. Calchas - An important soothsayer. Calchas’s identification of the cause of the plague ravaging the Achaean army in Book 1 leads inadvertently to the rift between Agamemnon and Achilles that occupies the first nineteen books of the Iliad. Peleus - Achilles’ father and the grandson of Zeus. Although his name often appears in the epic, Peleus never appears in person. Priam powerfully invokes the memory of Peleus when he convinces Achilles to return Hector’s corpse to the Trojans in Book 24. Phoenix - A kindly old warrior, Phoenix helped raise Achilles while he himself was still a young man. Achilles deeply loves and trusts Phoenix, and Phoenix mediates between him and Agamemnon during their quarrel. The Myrmidons - The soldiers under Achilles’ command, hailing from Achilles’ homeland, Phthia. The Trojans Hector - A son of King Priam and Queen Hecuba, Hector is the mightiest warrior in the Trojan army. He mirrors Achilles in some of his flaws, but his bloodlust is not so great as that of Achilles. He is devoted to his wife, Andromache, and son, Astyanax, but resents his brother Paris for bringing war upon their family and city. Hector (In-Depth Analysis) Priam - King of Troy and husband of Hecuba, Priam is the father of fifty Trojan warriors, including Hector and Paris. Though too old to fight, he has earned the respect of both the Trojans and the Achaeans by virtue of his level-headed, wise, and benevolent rule. He treats Helen kindly, though he laments the war that her beauty has sparked. Hecuba - Queen of Troy, wife of Priam, and mother of Hector and Paris. Paris (also known as “Alexander”) - A son of Priam and Hecuba and brother of Hector. Paris’s abduction of the beautiful Helen, wife of Menelaus, sparked the Trojan War. Paris is self-centered and often unmanly. He fights effectively with a bow and arrow (never with the more manly sword or spear) but often lacks the spirit for battle and prefers to sit in his room making love to Helen while others fight for him, thus earning both Hector’s and Helen’s scorn. Helen - Reputed to be the most beautiful woman in the ancient world, Helen left her husband, Menelaus, to run away with Paris. She loathes herself now for the misery that she has caused so many Trojan and Achaean men. Although her contempt extends to Paris as well, she continues to stay with him. Aeneas - A Trojan nobleman, the son of Aphrodite, and a mighty warrior. The Romans believed that Aeneas later founded their city (he is the protagonist of Virgil’s masterpiece the Aeneid).

Andromache - Hector’s loving wife, Andromache begs Hector to withdraw from the war and save himself before the Achaeans kill him. Astyanax - Hector and Andromache’s infant son. Polydamas - A young Trojan commander, Polydamas sometimes figures as a foil for Hector, proving cool-headed and prudent when Hector charges ahead. Polydamas gives the Trojans sound advice, but Hector seldom acts on it. Glaucus - A powerful Trojan warrior, Glaucus nearly fights a duel with Diomedes. The men’s exchange of armor after they realize that their families are friends illustrates the value that ancients placed on kinship and camaraderie. Agenor - A Trojan warrior who attempts to fight Achilles in Book 21. Agenor delays Achilles long enough for the Trojan army to flee inside Troy’s walls. Dolon - A Trojan sent to spy on the Achaean camp in Book 10. Pandarus - A Trojan archer. Pandarus’s shot at Menelaus in Book 4 breaks the temporary truce between the two sides. Antenor - A Trojan nobleman, advisor to King Priam, and father of many Trojan warriors. Antenor argues that Helen should be returned to Menelaus in order to end the war, but Paris refuses to give her up. Sarpedon - One of Zeus’s sons. Sarpedon’s fate seems intertwined with the gods’ quibbles, calling attention to the unclear nature of the gods’ relationship to Fate. Chryseis - Chryses’s daughter, a priest of Apollo in a Trojan- allied town. Briseis - A war prize of Achilles. When Agamemnon is forced to return Chryseis to her father, he appropriates Briseis as compensation, sparking Achilles’ great rage. Chryses - A priest of Apollo in a Trojan-allied town; the father of Chryseis, whom Agamemnon takes as a war prize. The Gods and Immortals Zeus - King of the gods and husband of Hera, Zeus claims neutrality in the mortals’ conflict and often tries to keep the other gods from participating in it. However, he throws his weight behind the Trojan side for much of the battle after the sulking Achilles has his mother, Thetis, ask the god to do so. Hera - Queen of the gods and Zeus’s wife, Hera is a conniving, headstrong woman. She often goes behind Zeus’s back in matters on which they disagree, working with Athena to crush the Trojans, whom she passionately hates. Athena - The goddess of wisdom, purposeful battle, and the womanly arts; Zeus’s daughter. Like Hera, Athena passionately hates the Trojans and often gives the Achaeans valuable aid. Thetis - A sea-nymph and the devoted mother of Achilles, Thetis gets Zeus to help the Trojans and punish the Achaeans at the request of her angry son. When Achilles finally rejoins the battle, she commissions Hephaestus to design him a new suit of armor. Apollo - A son of Zeus and twin brother of the goddess Artemis, Apollo is god of the arts and archery. He supports the Trojans and often intervenes in the war on their behalf. Aphrodite - Goddess of love and daughter of Zeus, Aphrodite is married to Hephaestus but maintains a romantic relationship with Ares. She supports Paris and the Trojans throughout the war, though she proves somewhat ineffectual in battle. Poseidon - The brother of Zeus and god of the sea. Poseidon holds a long-standing grudge against the Trojans because they never paid him for helping them to build their city. He therefore supports the Achaeans in the war. Hephaestus - God of fire and husband of Aphrodite, Hephaestus is the gods’ metalsmith and is known as the lame or crippled god. Although the text doesn’t make clear his sympathies in the mortals’ struggle, he helps the Achaeans by forging a new set of armor for Achilles and by rescuing Achilles during his fight with a river god. Artemis - Goddess of the hunt, daughter of Zeus, and twin sister of Apollo. Artemis supports the Trojans in the war. Ares - God of war and lover of Aphrodite, Ares generally supports the Trojans in the war. Hermes - The messenger of the gods. Hermes escorts Priam to Achilles’ tent in Book 24. Iris - Zeus’s messenger. Analysis of Major Characters Achilles Although Achilles possesses superhuman strength and has a close relationship with the gods, he may strike modern readers as less than heroic. He has all the marks of a great warrior, and indeed proves the mightiest man in the Achaean army, but his deep-seated character flaws constantly impede his ability to act with nobility and integrity. He cannot control his pride or the rage that surges up when that pride is injured. This attribute so poisons him that he abandons his comrades and even prays that the Trojans will slaughter them, all because he has been slighted at the hands of his commander, Agamemnon. Achilles is driven primarily by a thirst for glory. Part of him yearns to live a long, easy life, but he knows that his personal fate forces him to choose between the two. Ultimately, he is willing to sacrifice everything else so that his name will be remembered. Like most Homeric characters, Achilles does not develop significantly over the course of the epic. Although the death of Patroclus prompts him to seek reconciliation with Agamemnon, it does not alleviate his rage, but instead redirects it toward Hector. The event does not make Achilles a more deliberative or self-reflective character. Bloodlust, wrath, and pride continue to consume him. He mercilessly mauls his opponents, brazenly takes on the river Xanthus, ignobly desecrates the body of Hector, and savagely sacrifices twelve Trojan men at the funeral of Patroclus. He does not relent in this brutality until the final book of the epic, when King Priam, begging for the return of Hector’s desecrated corpse,

appeals to Achilles’ memory of his father, Peleus. Yet it remains unclear whether a father’s heartbroken pleas really have transformed Achilles, or whether this scene merely testifies to Achilles’ capacity for grief and acquaintance with anguish, which were already proven in his intense mourning of Patroclus. Agamemnon Agamemnon, king of Mycenae and commander-in-chief of the Achaean army, resembles Achilles in some respects. Though not nearly as strong, he has a similarly hot temper and prideful streak. When Agamemnon’s insulting demand that Achilles relinquish his war prize, Briseis, causes Achilles to withdraw angrily from battle, the suffering that results for the Greek army owes as much to Agamemnon’s stubbornness as to that of Achilles. But Agamemnon’s pride makes him more arrogant than Achilles. While Achilles’ pride flares up after it is injured, Agamemnon uses every opportunity to make others feel the effects of his. He always expects the largest portions of the plunder, even though he takes the fewest risks in battle. Additionally, he insists upon leading the army, even though his younger brother Menelaus, whose wife, Helen, was stolen by Paris, possesses the real grievance against the Trojans. He never allows the Achaeans to forget his kingly status. Agamemnon also differs from Achilles in his appreciation of subtlety. Achilles remains fiercely devoted to those who love him but devotedly vicious to those who do him harm; he sees no shades of gray. Agamemnon, however, remains fundamentally concerned with himself, and he has the cunning to manipulate people and situations for his own benefit. He does not trust his troops blindly, but tests their loyalty, as in Book 2. Although he reconciles with Achilles in Book 19, he shirks personal responsibility with a forked-tongued indictment of Fate, Ruin, and the gods. Whereas Achilles is wholly consumed by his emotions, Agamemnon demonstrates a deft ability to keep himself—and others—under control. When he commits wrongs, he does so not out of blind rage and frustration like Achilles, but out of amoral, self-serving cunning. For this reason, Homer’s portrait of Agamemnon ultimately proves unkind, and the reader never feels the same sympathy for him as for Achilles. Hector Hector is the mightiest warrior in the Trojan army. Although he meets his match in Achilles, he wreaks havoc on the Achaean army during Achilles’ period of absence. He leads the assault that finally penetrates the Achaean ramparts, he is the first and only Trojan to set fire to an Achaean ship, and he kills Patroclus. Yet his leadership contains discernible flaws, especially toward the end of the epic, when the participation of first Patroclus and then Achilles reinvigorates the Achaean army. He demonstrates a certain cowardice when, twice in Book 17, he flees Great Ajax. Indeed, he recovers his courage only after receiving the insults of his comrades—first Glaucus and then Aeneas. He can often become emotionally carried away as well, treating Patroclus and his other victims with rash cruelty. Later, swept up by a burst of confidence, he foolishly orders the Trojans to camp outside Troy’s walls the night before Achilles returns to battle, thus causing a crucial downfall the next day. But although Hector may prove overly impulsive and insufficiently prudent, he does not come across as arrogant or overbearing, as Agamemnon does. Moreover, the fact that Hector fights in his homeland, unlike any of the Achaean commanders, allows Homer to develop him as a tender, family-oriented man. Hector shows deep, sincere love for his wife and children. Indeed, he even treats his brother Paris with forgiveness and indulgence, despite the man’s lack of spirit and preference for lovemaking over military duty. Hector never turns violent with him, merely aiming frustrated words at his cowardly brother. Moreover, although Hector loves his family, he never loses sight of his responsibility to Troy. Admittedly, he runs from Achilles at first and briefly entertains the delusional hope of negotiating his way out of a duel. However, in the end he stands up to the mighty warrior, even when he realizes that the gods have abandoned him. His refusal to flee even in the face of vastly superior forces makes him the most tragic figure in the poem. Themes, Motifs & Symbols Themes Themes are the fundamental and often universal ideas explored in a literary work. The Glory of War One can make a strong argument that the Iliad seems to celebrate war. Characters emerge as worthy or despicable based on their degree of competence and bravery in battle. Paris, for example, doesn’t like to fight, and correspondingly receives the scorn of both his family and his lover. Achilles, on the other hand, wins eternal glory by explicitly rejecting the option of a long, comfortable, uneventful life at home. The text itself seems to support this means of judging character and extends it even to the gods. The epic holds up warlike deities such as Athena for the reader’s admiration while it makes fun of gods who run from aggression, using the timidity of Aphrodite and Artemis to create a scene of comic relief. To fight is to prove one’s honor and integrity, while to avoid warfare is to demonstrate laziness, ignoble fear, or misaligned priorities. 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.

Military Glory over Family Life 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. The Impermanence of Human Life and Its Creations Although the Iliad chronicles a very brief period in a very long war, it remains acutely conscious of the specific ends awaiting each of the people involved. Troy is destined to fall, as Hector explains to his wife in Book 6. The text announces that Priam and all of his children will die—Hector dies even before the close of the poem. Achilles will meet an early end as well, although not within the pages of the Iliad. Homer constantly alludes to this event, especially toward the end of the epic, making clear that even the greatest of men cannot escape death. Indeed, he suggests that the very greatest—the noblest and bravest—may yield to death sooner than others. Similarly, the Iliad recognizes, and repeatedly reminds its readers, that the creations of mortals have a mortality of their own. The glory of men does not live on in their constructions, institutions, or cities. The prophecy of Calchas, as well as Hector’s tender words with Andromache and the debates of the gods, constantly remind the reader that Troy’s lofty ramparts will fall. But the Greek fortifications will not last much longer. Though the Greeks erect their bulwarks only partway into the epic, Apollo and Poseidon plan their destruction as early as Book 12. The poem thus emphasizes the ephemeral nature of human beings and their world, suggesting that mortals should try to live their lives as honorably as possible, so that they will be remembered well. For if mortals’ physical bodies and material creations cannot survive them, perhaps their words and deeds can. Certainly the existence of Homer’s poem would attest to this notion. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. Armor One would naturally expect a martial epic to depict men in arms, but armor in the Iliad emerges as something more than merely a protective cover for a soldier’s body. In fact, Homer often portrays a hero’s armor as having an aura of its own, separate from its wearer. In one of the epic’s more tender scenes, Hector removes his helmet to keep its horsehair crest from frightening his son Astyanax. When Patroclus wears Achilles’ armor to scare the Trojans and drive them from the ships, Apollo and Hector quickly see through the disguise. Then, when a fight breaks out over Patroclus’s fallen body, the armor goes one way and the corpse another. Hector dons the armor, but it ends up betraying him, as it were, in favor of its former owner. Achilles’ knowledge of its vulnerabilities makes it easier for him to run Hector through with his sword. By this point in the story, Achilles has a new set of armor, fashioned by the god Hephaestus, which also seems to have a life of its own. While Achilles’ mortal body can be wounded—and indeed, the poem reminds us of Achilles’ impending death on many occasions—Homer describes the divine armor as virtually impervious to assault. Burial While martial epics naturally touch upon the subject of burial, the Iliad lingers over it. The burial of Hector is given particular attention, as it marks the melting of Achilles’ crucial rage. The mighty Trojan receives a spectacular funeral that comes only after an equally spectacular fight over his corpse. Patroclus’s burial also receives much attention in the text, as Homer devotes an entire book to the funeral and games in the warrior’s honor. The poem also describes burials unconnected to particular characters, such as in Book 7, when both armies undertake a large-scale burial of their largely unnamed dead. The Iliad’s interest in burial partly reflects the interests of ancient Greek culture as a whole, which stressed proper burial as a requirement for the soul’s peaceful rest. However, it also reflects the grim outlook of the Iliad, its interest in the relentlessness of fate and the impermanence of human life. Fire Fire emerges as a recurrent image in the Iliad, often associated with internal passions such as fury or rage, but also with their external manifestations. Homer describes Achilles as “blazing” in Book 1 and compares the sparkle of his freshly donned armor to the sun. Moreover, the poem often compares a hero’s charge or an onslaught of troops to a conflagration sweeping through a field. But fire doesn’t appear just allegorically or metaphorically; it appears materially as well. The Trojans light fires in Book 8 to watch the Achaean army and to prevent it from slipping away by night. They constantly threaten the Achaean ships with fire and indeed succeed in torching one of them. Thus, whether present literally or metaphorically, the frequency with which fire appears in the Iliad indicates the poem’s over-arching concern with instances of profound power and destruction. Symbols Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

The Achaean Ships The Achaean ships symbolize the future of the Greek race. They constitute the army’s only means of conveying itself home, whether in triumph or defeat. Even if the Achaean army were to lose the war, the ships could bring back survivors; the ships’ destruction, however, would mean the annihilation—or automatic exile—of every last soldier. Homer implies that some men shirked the war and stayed in Greece, while others, such as Peleus, were too old to fight. However, to Homer’s original audience, the Achaean warriors at Troy represented more than a mere subpopulation of the Greek race. Homer’s contemporaries believed that the heroes represented here actually lived historically, as real kings who ruled the various city-states of Greece in their earliest years. Ancient audiences regarded them as playing definitive roles in the formation and development of Greece as they knew it. The mass death of these leaders and role models would have meant the decimation of a civilization. The Shield of Achilles The Iliad is an extremely compressed narrative. Although it treats many of the themes of human experience, it does so within the scope of a few days out of a ten-year war. The shield constitutes only a tiny part in this martial saga, a single piece of armor on a single man in one of the armies—yet it provides perspective on the entire war. Depicting normal life in peacetime, it symbolizes the world beyond the battlefield, and implies that war constitutes only one aspect of existence. Life as a whole, the shield reminds us, includes feasts and dances and marketplaces and crops being harvested. Human beings may serve not only as warriors but also as artisans and laborers in the fields. Not only do they work, they also play, as the shield depicts with its dancing children. Interestingly, although Homer glorifies war and the life of the warrior throughout most of his epic, his depiction of everyday life as it appears on the shield comes across as equally noble, perhaps preferable.