Iliad Modern Scholarship
Achilles
Jones: ‘heroic behaviour and its consequences in the person of Achilles are the central
subject.’
Jones: ‘the character of Achilles is not good in any other sense than that he excels others in
physical prowess and is the best fighter.’
Barker and Christensen: ‘the most important theme of the Iliad is Achilles’ growing
recognition of his mortality.’
Edwards: ‘concentrated symbol of the mortality of even the greatest human prowess.’
Silk: ‘it is clear that Achilles is an uncomfortable and even destructive presence in the heroic
world.’
Silk: ‘Irregular hero as he doesn't fight or believe in traditional values.’
Swift: 'Does not represent a fundamental change in the way Achilles is presented'
Wilson: Book 9 demonstrates Achilles as a spiritual man in a material world
Leaf: In Book 9, Achilles wished not for satisfaction for his wounded honour, because that
had been offered to him in the form of Agamemnon's gifts, but for simple unreasoning
vengeance
Patroclus
Jones: It's not Patroclus' fighting ability that will be his undoing, but rather his desire to go
too far and refusal to control himself that will kill him
Owen: Homer builds up the description of the circumstances of Patroclus' death to cause grief
in audience so that we sympathise with Achilles's desire for revenge on Hector
Owen: Homer has built up Sarpedon for the purpose of giving glory to Patroclus
N. Felson and L. Slatkin: Only after Patroclus' death do the Greeks re-constitute themselves
as fighting allies
Seaford: The similes (like the one of Patroclus being a little crying girl in Book 16)
humanises Patroclus and Achilles
Hector
Schein: ‘Hector is represented as quintessentially social and human, while Achilles is
inhumanly isolated and daemonic in his greatness.’
Allan: Andromache draws attention to how war destroys the lives of women in Book 6, so
Hector is aware of this when he claims that "war will be the concern of men" which makes
him seem naïve
, Lattimore: Hector's domestic scenes generate admiration, more so than inhumane Achilles
Paris
Owen: Paris and his guilt symbolise the certainty of Troy's fall and shadow the coming doom,
while Hector contrastingly embodies the tragedy of this and is a pure patriot fighting to save
his city, not to defend Paris' guilt
Older Hero’s (Priam, Phoenix, and Nestor)
Edwards: Nestor is prolix (tediously lengthy,) because he gives only good and important
advice which demands our attention
Roisman: Nestor's advice proves either ineffective or seriously flawed yet he is always
praised by Homer and/or gains respect from Agamemnon and other characters
Falkner: ‘the elderly tend to assume roles as wise counsellors, arbiters and maintainers of
tradition’ (specifically when Priam comforts Helen in Boo k3)
Diomedes
Stamatopoulou: Diomedes emerges as a greater warrior (…) not only due to divine help but
also because he becomes more like his father
Agamemnon
Roberts: Agamemnon shows childish, anxiety-ridden behaviour throughout his quarrel with
Achilles
Donlan: By the end of book 2, the essential elements of Agamemnon's psychological make-
up are evident: anxiety, self-doubt and guilt
Nicholson: There is something sickening about the gifts Agamemnon offers Achilles in that
they miss the point, as Achilles had previously called him greedy and materialistic. He knows
Odysseus is there to lie to him
Heroic values (honour, shame, revenge, fame, and bravery)
Schein ‘the very activity- killing (…is…) both destructive and self-destructive.’
Jones: ‘hero’s natural desire for the honour (…) and his obligations to others to co-operate
with them.’
Jones: Driven by the fear of failure and shame in the eyes of others, they kill/are killed in the
search of 'kleos' which will live on after their deaths
Achilles
Jones: ‘heroic behaviour and its consequences in the person of Achilles are the central
subject.’
Jones: ‘the character of Achilles is not good in any other sense than that he excels others in
physical prowess and is the best fighter.’
Barker and Christensen: ‘the most important theme of the Iliad is Achilles’ growing
recognition of his mortality.’
Edwards: ‘concentrated symbol of the mortality of even the greatest human prowess.’
Silk: ‘it is clear that Achilles is an uncomfortable and even destructive presence in the heroic
world.’
Silk: ‘Irregular hero as he doesn't fight or believe in traditional values.’
Swift: 'Does not represent a fundamental change in the way Achilles is presented'
Wilson: Book 9 demonstrates Achilles as a spiritual man in a material world
Leaf: In Book 9, Achilles wished not for satisfaction for his wounded honour, because that
had been offered to him in the form of Agamemnon's gifts, but for simple unreasoning
vengeance
Patroclus
Jones: It's not Patroclus' fighting ability that will be his undoing, but rather his desire to go
too far and refusal to control himself that will kill him
Owen: Homer builds up the description of the circumstances of Patroclus' death to cause grief
in audience so that we sympathise with Achilles's desire for revenge on Hector
Owen: Homer has built up Sarpedon for the purpose of giving glory to Patroclus
N. Felson and L. Slatkin: Only after Patroclus' death do the Greeks re-constitute themselves
as fighting allies
Seaford: The similes (like the one of Patroclus being a little crying girl in Book 16)
humanises Patroclus and Achilles
Hector
Schein: ‘Hector is represented as quintessentially social and human, while Achilles is
inhumanly isolated and daemonic in his greatness.’
Allan: Andromache draws attention to how war destroys the lives of women in Book 6, so
Hector is aware of this when he claims that "war will be the concern of men" which makes
him seem naïve
, Lattimore: Hector's domestic scenes generate admiration, more so than inhumane Achilles
Paris
Owen: Paris and his guilt symbolise the certainty of Troy's fall and shadow the coming doom,
while Hector contrastingly embodies the tragedy of this and is a pure patriot fighting to save
his city, not to defend Paris' guilt
Older Hero’s (Priam, Phoenix, and Nestor)
Edwards: Nestor is prolix (tediously lengthy,) because he gives only good and important
advice which demands our attention
Roisman: Nestor's advice proves either ineffective or seriously flawed yet he is always
praised by Homer and/or gains respect from Agamemnon and other characters
Falkner: ‘the elderly tend to assume roles as wise counsellors, arbiters and maintainers of
tradition’ (specifically when Priam comforts Helen in Boo k3)
Diomedes
Stamatopoulou: Diomedes emerges as a greater warrior (…) not only due to divine help but
also because he becomes more like his father
Agamemnon
Roberts: Agamemnon shows childish, anxiety-ridden behaviour throughout his quarrel with
Achilles
Donlan: By the end of book 2, the essential elements of Agamemnon's psychological make-
up are evident: anxiety, self-doubt and guilt
Nicholson: There is something sickening about the gifts Agamemnon offers Achilles in that
they miss the point, as Achilles had previously called him greedy and materialistic. He knows
Odysseus is there to lie to him
Heroic values (honour, shame, revenge, fame, and bravery)
Schein ‘the very activity- killing (…is…) both destructive and self-destructive.’
Jones: ‘hero’s natural desire for the honour (…) and his obligations to others to co-operate
with them.’
Jones: Driven by the fear of failure and shame in the eyes of others, they kill/are killed in the
search of 'kleos' which will live on after their deaths
