The Aeneid is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. It comprises 9,896 lines in dactylic hexameter; the first six of the poem's twelve books tell the story of Aeneas's wanderings from Troy to Italy, the poem's second half tells of the Trojans' victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed. The hero Aeneas was known to Greco-Roman legend and myth, having been a character in the Iliad. Virgil took the disconnected tales of Aeneas's wanderings, his vague association with the foundation of Rome and his description as a personage of no fixed characteristics other than a scrupulous pietas, fashioned the Aeneid into a compelling founding myth or national epic that tied Rome to the legends of Troy, explained the Punic Wars, glorified traditional Roman virtues, legitimized the Julio-Claudian dynasty as descendants of the founders and gods of Rome and Troy.
The Aeneid is regarded as Virgil's masterpiece and one of the greatest works of Latin literature. The Aeneid can be divided into two halves based on the disparate subject matter of Books 1–6 and Books 7–12; these two halves are regarded as reflecting Virgil's ambition to rival Homer by treating both the Odyssey's wandering theme and the Iliad's warfare themes. This is, however, a rough correspondence, the limitations of which should be borne in mind. Virgil begins his poem with a statement of his theme and an invocation to the Muse, falling some seven lines after the poem's inception, he explains the reason for the principal conflict in the story: the resentment held by the goddess Juno against the Trojan people. This is consistent with her role throughout the Homeric epics. In the manner of Homer, the story proper begins in medias res, with the Trojan fleet in the eastern Mediterranean, heading in the direction of Italy; the fleet, led by Aeneas, is on a voyage to find a second home. It has been foretold that in Italy he will give rise to a race both noble and courageous, a race which will become known to all nations.
Juno is wrathful, because she had not been chosen in the judgment of Paris, because her favorite city, will be destroyed by Aeneas's descendants. Ganymede, a Trojan prince, was chosen to be the cupbearer to her husband, Jupiter—replacing Juno's daughter, Hebe. Juno proceeds to Aeolus, King of the Winds, asks that he release the winds to stir up a storm in exchange for a bribe. Aeolus agrees to carry out Juno's orders. Neptune takes notice: although he himself is no friend of the Trojans, he is infuriated by Juno's intrusion into his domain, stills the winds and calms the waters, after making sure that the winds would not bother the Trojans again, lest they be punished more harshly than they were this time; the fleet takes shelter on the coast of Africa, where Aeneas rouses the spirits of his men, reassuring them that they have been through worse situations before. There, Aeneas's mother, Venus, in the form of a huntress similar to the goddess Diana, encourages him and recounts to him the history of Carthage.
Aeneas ventures into the city, in the temple of Juno he seeks and gains the favor of Dido, queen of the city. The city has only been founded by refugees from Tyre and will become a great imperial rival and enemy to Rome. Meanwhile, Venus has her own plans, she goes to her son, Aeneas's half-brother Cupid, tells him to imitate Ascanius. Disguised as such, Cupid offers the gifts expected from a guest. With Dido's motherly love revived as she cradles the boy during a banquet given in honour of the Trojans, Cupid secretly weakens her sworn fidelity to the soul of her late husband, murdered by her brother, Pygmalion. In books 2 and 3, Aeneas recounts the events, he begins the tale shortly after the war described in the Iliad. Cunning Ulysses devised a way for Greek warriors to gain entry into the walled city of Troy by hiding in a large wooden horse; the Greeks pretended to sail away, leaving a warrior, Sinon, to mislead the Trojans into believing that the horse was an offering and that if it were taken into the city, the Trojans would be able to conquer Greece.
The Trojan priest Laocoön saw through the Greek plot and urged the horse's destruction, but his protests fell on deaf ears, so he hurled his spear at the horse. In what would be seen by the Trojans as punishment from the gods, two serpents emerged from the sea and devoured Laocoön, along with his two sons; the Trojans took the horse inside the fortified walls, after nightfall the armed Greeks emerged from it, opening the city's gates to allow the returned Greek army to slaughter the Trojans. In a dream, the fallen Trojan prince, advised Aeneas to flee with his family. Aeneas saw with horror what was happening to his beloved city. At first he tried to fight the enemy, but soon he lost his comrades and was left alone to fend off the Greeks, he witnessed the murder of Priam by Achilles' son Pyrrhus. His mother, appeared to him and led him back to his house. Aeneas tells of his escape with his son, his wife Creusa, his father, after the occurrence
Neoptolemus called Pyrrhus, was the son of the warrior Achilles and the princess Deidamia in Greek mythology, the mythical progenitor of the ruling dynasty of the Molossians of ancient Epirus. In Cypria, Achilles sails to Scyros after a failed expedition to Troy, marries princess Deidamia and has Neoptolemus, until Achilles is called to arms again. In a non-Homeric version of the story, Achilles' mother Thetis foretold many years before Achilles' birth that there would be a great war, she saw. She sought a place for him to avoid fighting in the Trojan War, disguising him as a woman in the court of Lycomedes, the king of Scyros. During that time, he had an affair with the princess, who gave birth to Neoptolemos. Neoptolemos was called Pyrrhos, because his father had taken Pyrrha, the female version of that name, while disguised as a woman; the Greeks captured the Trojan seer and forced him to tell them under what conditions they could take Troy. Helenos revealed to them that they could defeat Troy if they could acquire the poisonous arrows of Heracles.
In response to the prophecy, the Greeks took steps to retrieve the arrows of Heracles and bring Neoptolemos to Troy. Odysseus was sent to retrieve Neoptolemos a mere teenager, from Scyros; the two went to Lemnos to retrieve Philoctetes. Years earlier, on the way to Troy, Philoctetes was bitten by a snake on Chryse Island. Agamemnon had advised that he smelled bad; this retrieval is the plot of a play by Sophocles. Euripides, in his play Hekabe, has a moving scene which shows Neoptolemos as a compassionate young man who kills Polyxena, Hekabe's daughter with ambivalent feelings and in the least painful way. Neoptolemos was held by some to be brutal, he killed six men on the field of battle. During and after the war, he killed Priam, Polyxena and Astyanax among others, captured Helenos, made Andromache a widow, his concubine; the ghost of Achilles appeared to the survivors of the war, demanding Polyxena, the Trojan princess, be sacrificed before anybody could leave. Neoptolemos did so. With Andromache and Phoenix, Neoptolemos sailed to the Epirot Islands and became the King of Epirus.
With the enslaved Andromache, Neoptolemos was the father of Molossos and through him, according to the myth, an ancestor of Olympias, the mother of Alexander the Great. According to Hyginus, his son with Andromache was Amphialos: CXXIII. NEOPTOLEMUS Neoptolemus, son of Achilles and Deidamia, begat Amphialus by captive Andromache, daughter of Ēëtion, but after he heard that Hermione his betrothed had been given to Orestes in marriage, he went to Lacedaemon and demanded her from Menelaus. Menelaus did not wish to go back on his word, took Hermione from Orestes and gave her to Neoptolemus. Orestes, thus insulted, slew Neoptolemus as he was sacrificing to Delphi, recovered Hermione; the bones of Neoptolemus were scattered through the land of Ambracia, in the district of Epirus. Although Neoptolemus is depicted thus, the play Philoctetes by Sophocles shows him being a much kinder man, who honours his promises and shows remorse when he is made to trick Philoctetes. Two accounts deal with Neoptolemos' death.
He was either killed after he attempted to take Hermione from Orestes as her father Menelaus promised, or after he denounced Apollo, the murderer of his father. In the first case, he was killed by Orestes. In the second, revenge was taken by the Delphic priests of Apollo. After his death his kingdom was portioned out and Helenos took part of it. "Helenus, a son of Priam, was king over these Greek cities of Epirus, having succeeded to the throne and bed of Pyrrhus..." Neoptolemus is one of the main characters in a tragedy by Sophocles. Andromache, a tragedy by Euripides. Neoptolemus does not appear on stage but his death at Delphi is described Apollodorus' Library, in Book 3 and in the Epitome 5.10-12, 5.21, 5.24 The Aeneid by Virgil Trojan Women by Seneca The Posthomerica, an epic poem by Quintus of Smyrna In Confessio Amantis Book 4 line 2161ff he is the slayer of the Amazon Penthesilea The Tragedy of Dido by Christopher Marlowe Pyrrhus features in the player's speech in Shakespeare's Hamlet where his killing of Priam is described The Second Part of the Iron Age, the final play in the Ages series by Thomas Heywood Pyrrhus is a leading character in Andromaque, a play by Jean Racine Andromaque, an opera by Grétry based on Racine's play Ermione, an opera by Gioachino Rossini based on Racine's play An Arrow's Flight, a novel by Mark Merlis The Song of Achilles, a novel by Madeline Miller The Song of Troy, a novel written by Colleen McCullough The Silence of the Girls, a novel written by Pat Barker Mentioned in Euripides' plays Trojan Women and Hecuba stating that Andromache, wife of Hector, was his promised spear bride.
Chisholm, Hugh, ed.. "Neoptolemus". Encyclopædia Britannica. Cambridge University Press
Greek mythology is the body of myths told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities and mythological creatures, the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, to gain understanding of the nature of myth-making itself; the Greek myths were propagated in an oral-poetic tradition most by Minoan and Mycenaean singers starting in the 18th century BC. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, the origin of sacrificial practices. Myths are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods and mythic episodes featured prominently in ancient vase-paintings and the decoration of votive gifts and many other artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles. In the succeeding Archaic and Hellenistic periods and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an extensive influence on the culture and literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes. Greek mythology is known today from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward. In fact and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict.
Mythical narration plays an important role in nearly every genre of Greek literature. The only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus; this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens wrote on many of these topics, his writings may have formed the basis for the collection. Among the earliest literary sources are the Iliad and the Odyssey. Other poets completed the "epic cycle", but these and lesser poems now are lost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer, they are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his Theogony the fullest account of the earliest Greek myths, dealing with the creation of the world. Hesiod's Works and Days, a didactic poem about farming life includes the myths of Prometheus and the Five Ages.
The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. Lyrical poets took their subjects from myth, but their treatment became less narrative and more allusive. Greek lyric poets, including Pindar and Simonides, bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama; the tragic playwrights Aeschylus and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories took on their classic form in these tragedies; the comic playwright Aristophanes used myths, in The Birds and The Frogs. Historians Herodotus and Diodorus Siculus, geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.
Herodotus attempted to reconcile the blending of differing cultural concepts. The poetry of the Hellenistic and Roman ages was composed as a literary rather than cultic exercise, it contains many important details that would otherwise be lost. This category includes the works of: The Roman poets Ovid, Valerius Flaccus and Virgil with Servius's commentary; the Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, Quintus Smyrnaeus. The Greek poets of the Hellenistic period: Apollonius of Rhodes, Pseudo-Eratosthenes, Parthenius. Prose writers from the same periods who make reference to myths includ
Ajax the Great
Ajax or Aias is a Greek mythological hero, the son of King Telamon and Periboea, the half-brother of Teucer. He plays an important role, is portrayed as a towering figure and a warrior of great courage in Homer's Iliad and in the Epic Cycle, a series of epic poems about the Trojan War, he is referred to as "Telamonian Ajax", "Greater Ajax", or "Ajax the Great", which distinguishes him from Ajax, son of Oileus. Ajax is the son of Telamon, the son of Aeacus and grandson of Zeus, his first wife Periboea, he is the cousin of Achilles, is the elder half-brother of Teucer. His given name is derived from the root of αἰάζω "to lament". Many illustrious Athenians, including Cimon, Miltiades and the historian Thucydides, traced their descent from Ajax. On an Etruscan tomb dedicated to Racvi Satlnei in Bologna there is an inscription that says, aivastelmunsl which means " of Telamonian Ajax". In Homer's Iliad he is described as of great stature, colossal frame and strongest of all the Achaeans. Known as the "bulwark of the Achaeans", he was trained by the centaur Chiron, at the same time as Achilles.
He was described as fearless and powerful but with a high level of combat intelligence. Ajax commands his army wielding a huge shield made of seven cow-hides with a layer of bronze. Most notably, Ajax is not wounded in any of the battles described in the Iliad, he is the only principal character on either side who does not receive substantial assistance from any of the gods who take part in the battles, although, in book 13, Poseidon strikes Ajax with his staff, renewing his strength. Unlike Diomedes and Achilles, Ajax appears as a defensive warrior, instrumental in the defence of the Greek camp and ships and that of Patroclus' body; when the Trojans are on the offensive, he is seen covering the retreat of the Achaeans. While one of the deadliest heroes in the whole poem, Ajax has no aristeia depicting him on the offensive. In the Iliad, Ajax is notable for his abundant strength and courage, seen in two fights with Hector. In Book 7, Ajax is chosen by lot to meet Hector in a duel. Ajax at first gets the better of the encounter, wounding Hector with his spear and knocking him down with a large stone, but Hector fights on until the heralds, acting at the direction of Zeus, call a draw, with the two combatants exchanging gifts, Ajax giving Hector a purple sash and Hector giving Ajax his sharp sword.
The second fight between Ajax and Hector occurs when the latter breaks into the Mycenaean camp, fights with the Greeks among the ships. In Book 14, Ajax throws a giant rock at Hector which kills him. In Book 15, Hector is restored to his strength by returns to attack the ships. Ajax, wielding an enormous spear as a weapon and leaping from ship to ship, holds off the Trojan armies single-handedly. In Book 16, Hector and Ajax duel once again. Hector disarms Ajax and Ajax is forced to retreat, seeing that Zeus is favoring Hector. Hector and the Trojans succeed in burning one Greek ship, the culmination of an assault that finishes the war. Ajax is responsible for the death including Phorcys. Ajax fought in tandem with his brother Teucer, known for his skill with the bow. Ajax would wield his magnificent shield. Achilles was absent during these encounters because of his feud with Agamemnon. In Book 9, Agamemnon and the other Mycenaean chiefs send Ajax and Phoenix to the tent of Achilles in an attempt to reconcile with the great warrior and induce him to return to the fight.
Although Ajax speaks earnestly and is well received, he does not succeed in convincing Achilles. When Patroclus is killed, Hector tries to steal his body. Ajax, assisted by Menelaus, succeeds in fighting off the Trojans and taking the body back with his chariot. Ajax's prayer to Zeus to remove the fog that has descended on the battle to allow them to fight or die in the light of day has become proverbial. According to Hyginus, in total, Ajax killed 28 people at Troy; as the Iliad comes to a close and the majority of other Greek warriors are alive and well. When Achilles dies, killed by Paris and Odysseus are the heroes who fight against the Trojans to get the body and bury it with his companion, Patroclus. Ajax, with his great shield and spear, manages to recover the body and carry it to the ships, while Odysseus fights off the Trojans. After the burial, each claims Achilles' magical armor, forged on Mount Olympus by the smith-god Hephaestus, for himself as recognition for his heroic efforts. A competition is held to determine.
Ajax argues that because of his strength and the fighting he has done for the Greeks, including saving the ships from Hector, driving him off with a massive rock, he deserves the armor. However, Odysseus proves to be more eloquent, with the aid of Athena, the council gives him the armor. Ajax, "Unconquered", furious, becomes crazed and slaughters the Achaians' herds of captured livestock, believing them to be his enemies through a trick of Athena. Unable to deal with this dual dishonor, he falls upon his own sword, "conque
The Ancient Greek language includes the forms of Greek used in Ancient Greece and the ancient world from around the 9th century BCE to the 6th century CE. It is roughly divided into the Archaic period, Classical period, Hellenistic period, it is succeeded by medieval Greek. Koine is regarded as a separate historical stage of its own, although in its earliest form it resembled Attic Greek and in its latest form it approaches Medieval Greek. Prior to the Koine period, Greek of the classic and earlier periods included several regional dialects. Ancient Greek was the language of Homer and of fifth-century Athenian historians and philosophers, it has contributed many words to English vocabulary and has been a standard subject of study in educational institutions of the Western world since the Renaissance. This article contains information about the Epic and Classical periods of the language. Ancient Greek was a pluricentric language, divided into many dialects; the main dialect groups are Attic and Ionic, Aeolic and Doric, many of them with several subdivisions.
Some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are several historical forms. Homeric Greek is a literary form of Archaic Greek used in the epic poems, the "Iliad" and "Odyssey", in poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic and other Classical-era dialects; the origins, early form and development of the Hellenic language family are not well understood because of a lack of contemporaneous evidence. Several theories exist about what Hellenic dialect groups may have existed between the divergence of early Greek-like speech from the common Proto-Indo-European language and the Classical period, they differ in some of the detail. The only attested dialect from this period is Mycenaean Greek, but its relationship to the historical dialects and the historical circumstances of the times imply that the overall groups existed in some form. Scholars assume that major Ancient Greek period dialect groups developed not than 1120 BCE, at the time of the Dorian invasion—and that their first appearances as precise alphabetic writing began in the 8th century BCE.
The invasion would not be "Dorian" unless the invaders had some cultural relationship to the historical Dorians. The invasion is known to have displaced population to the Attic-Ionic regions, who regarded themselves as descendants of the population displaced by or contending with the Dorians; the Greeks of this period believed there were three major divisions of all Greek people—Dorians and Ionians, each with their own defining and distinctive dialects. Allowing for their oversight of Arcadian, an obscure mountain dialect, Cypriot, far from the center of Greek scholarship, this division of people and language is quite similar to the results of modern archaeological-linguistic investigation. One standard formulation for the dialects is: West vs. non-west Greek is the strongest marked and earliest division, with non-west in subsets of Ionic-Attic and Aeolic vs. Arcadocypriot, or Aeolic and Arcado-Cypriot vs. Ionic-Attic. Non-west is called East Greek. Arcadocypriot descended more from the Mycenaean Greek of the Bronze Age.
Boeotian had come under a strong Northwest Greek influence, can in some respects be considered a transitional dialect. Thessalian had come under Northwest Greek influence, though to a lesser degree. Pamphylian Greek, spoken in a small area on the southwestern coast of Anatolia and little preserved in inscriptions, may be either a fifth major dialect group, or it is Mycenaean Greek overlaid by Doric, with a non-Greek native influence. Most of the dialect sub-groups listed above had further subdivisions equivalent to a city-state and its surrounding territory, or to an island. Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, Northern Peloponnesus Doric; the Lesbian dialect was Aeolic Greek. All the groups were represented by colonies beyond Greece proper as well, these colonies developed local characteristics under the influence of settlers or neighbors speaking different Greek dialects; the dialects outside the Ionic group are known from inscriptions, notable exceptions being: fragments of the works of the poet Sappho from the island of Lesbos, in Aeolian, the poems of the Boeotian poet Pindar and other lyric poets in Doric.
After the conquests of Alexander the Great in the late 4th century BCE, a new international dialect known as Koine or Common Greek developed based on Attic Greek, but with influence from other dialects. This dialect replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, spoken in the region of modern Sparta. Doric has passed down its aorist terminations into most verbs of Demotic Greek. By about the 6th century CE, the Koine had metamorphosized into Medieval Greek. Ancient Macedonian was an Indo-European language at least related to Greek, but its exact relationship is unclear because of insufficient data: a dialect of Greek; the Macedonian dialect (or l
The Iliad is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles. Although the story covers only a few weeks in the final year of the war, the Iliad mentions or alludes to many of the Greek legends about the siege; the epic narrative takes up events prophesied for the future, such as Achilles' imminent death and the fall of Troy, although the narrative ends before these events take place. However, as these events are prefigured and alluded to more and more vividly, when it reaches an end the poem has told a more or less complete tale of the Trojan War; the Iliad is paired with something of a sequel, the Odyssey attributed to Homer. Along with the Odyssey, the Iliad is among the oldest extant works of Western literature, its written version is dated to around the 8th century BC.
In the modern vulgate, the Iliad contains 15,693 lines. According to Michael N. Nagler, the Iliad is a more complicated epic poem than the Odyssey. Note: Book numbers are in parentheses and come before the synopsis of the book. After an invocation to the Muses, the story launches in medias res towards the end of the Trojan War between the Trojans and the besieging Greeks. Chryses, a Trojan priest of Apollo, offers the Greeks wealth for the return of his daughter Chryseis, held captive of Agamemnon, the Greek leader. Although most of the Greek army is in favour of the offer, Agamemnon refuses. Chryses prays for Apollo's help, Apollo causes a plague to afflict the Greek army. After nine days of plague, the leader of the Myrmidon contingent, calls an assembly to deal with the problem. Under pressure, Agamemnon agrees to return Chryseis to her father, but decides to take Achilles' captive, Briseis, as compensation. Achilles furiously will go home. Odysseus takes a ship and returns Chryseis to her father, whereupon Apollo ends the plague.
In the meantime, Agamemnon's messengers take Briseis away. Achilles becomes upset, sits by the seashore, prays to his mother, Thetis. Achilles asks his mother to ask Zeus to bring the Greeks to the breaking point by the Trojans, so Agamemnon will realize how much the Greeks need Achilles. Thetis does so, Zeus agrees. Zeus sends a dream to Agamemnon. Agamemnon heeds the dream but first decides to test the Greek army's morale, by telling them to go home; the plan backfires, only the intervention of Odysseus, inspired by Athena, stops a rout. Odysseus confronts and beats Thersites, a common soldier who voices discontent about fighting Agamemnon's war. After a meal, the Greeks deploy in companies upon the Trojan plain; the poet takes the opportunity to describe the provenance of each Greek contingent. When news of the Greek deployment reaches King Priam, the Trojans respond in a sortie upon the plain. In a list similar to that for the Greeks, the poet describes their allies; the armies approach each other, but before they meet, Paris offers to end the war by fighting a duel with Menelaus, urged by his brother and head of the Trojan army, Hector.
While Helen tells Priam about the Greek commanders from the walls of Troy, both sides swear a truce and promise to abide by the outcome of the duel. Paris is beaten, but Aphrodite rescues him and leads him to bed with Helen before Menelaus can kill him. Pressured by Hera's hatred of Troy, Zeus arranges for the Trojan Pandaros to break the truce by wounding Menelaus with an arrow. Agamemnon rouses the Greeks, battle is joined. In the fighting, Diomedes kills many Trojans, including Pandaros, defeats Aeneas, whom Aphrodite rescues, but Diomedes attacks and wounds the goddess. Apollo warns him against warring with gods. Many heroes and commanders join in, including Hector, the gods supporting each side try to influence the battle. Emboldened by Athena, Diomedes wounds puts him out of action. Hector prevents a rout. Hector enters the city, urges prayers and sacrifices, incites Paris to battle, bids his wife Andromache and son Astyanax farewell on the city walls, rejoins the battle. Hector duels with Ajax, but nightfall interrupts the fight, both sides retire.
The Greeks agree to burn their dead, build a wall to protect their ships and camp, while the Trojans quarrel about returning Helen. Paris offers to return the treasure he took and give further wealth as compensation, but not Helen, the offer is refused. A day's truce is agreed for burning the dead, during which the Greeks build their wall and a trench; the next morning, Zeus prohibits the gods from interfering, fighting begins anew. The Trojans prevail and force the Greeks back to their wall, while Hera and Athena are forbidden to help. Night falls, they camp in the field to attack at first light, their watchfires light the plain like stars. Meanwhile, the Greeks are desperate. Agamemnon admits his error, sends an embassy composed of Odysseus, Ajax and two heralds to offer Briseis and extensive gifts to Achilles, who has be
Homer is the legendary author of the Iliad and the Odyssey, two epic poems that are the central works of ancient Greek literature. The Iliad is set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek kingdoms, it focuses on a quarrel between King Agamemnon and the warrior Achilles lasting a few weeks during the last year of the war. The Odyssey focuses on the ten-year journey home of Odysseus, king of Ithaca, after the fall of Troy. Many accounts of Homer's life circulated in classical antiquity, the most widespread being that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. Modern scholars consider these accounts legendary; the Homeric Question – concerning by whom, when and under what circumstances the Iliad and Odyssey were composed – continues to be debated. Broadly speaking, modern scholarly opinion falls into two groups. One holds that most of the Odyssey are the works of a single poet of genius; the other considers the Homeric poems to be the result of a process of working and reworking by many contributors, that "Homer" is best seen as a label for an entire tradition.
It is accepted that the poems were composed at some point around the late eighth or early seventh century BC. The poems are in Homeric Greek known as Epic Greek, a literary language which shows a mixture of features of the Ionic and Aeolic dialects from different centuries. Most researchers believe that the poems were transmitted orally. From antiquity until the present day, the influence of the Homeric epics on Western civilization has been great, inspiring many of its most famous works of literature, music and film; the Homeric epics were the greatest influence on education. Today only the Iliad and Odyssey are associated with the name'Homer'. In antiquity, a large number of other works were sometimes attributed to him, including the Homeric Hymns, the Contest of Homer and Hesiod, the Little Iliad, the Nostoi, the Thebaid, the Cypria, the Epigoni, the comic mini-epic Batrachomyomachia, the Margites, the Capture of Oechalia, the Phocais; these claims are not considered authentic today and were by no means universally accepted in the ancient world.
As with the multitude of legends surrounding Homer's life, they indicate little more than the centrality of Homer to ancient Greek culture. Many traditions circulated in the ancient world concerning Homer. Modern scholarly consensus is; some claims were repeated often. They include that Homer was blind, that he was born in Chios, that he was the son of the river Meles and the nymph Critheïs, that he was a wandering bard, that he composed a varying list of other works, that he died either in Ios or after failing to solve a riddle set by fishermen, various explanations for the name "Homer"; the two best known ancient biographies of Homer are the Life of Homer by the Pseudo-Herodotus and the Contest of Homer and Hesiod. The study of Homer is one of the oldest topics in scholarship, dating back to antiquity. Nonetheless, the aims of Homeric studies have changed over the course of the millennia; the earliest preserved comments on Homer concern his treatment of the gods, which hostile critics such as the poet Xenophanes of Colophon denounced as immoral.
The allegorist Theagenes of Rhegium is said to have defended Homer by arguing that the Homeric poems are allegories. The Iliad and the Odyssey were used as school texts in ancient Greek and Hellenistic cultures, they were the first literary works taught to all students. The Iliad its first few books, was far more intently studied than the Odyssey during the Hellenistic and Roman periods; as a result of the poems' prominence in classical Greek education, extensive commentaries on them developed to explain parts of the poems that were culturally or linguistically difficult. During the Hellenistic and Roman Periods, many interpreters the Stoics, who believed that Homeric poems conveyed Stoic doctrines, regarded them as allegories, containing hidden wisdom; because of the Homeric poems' extensive use in education, many authors believed that Homer's original purpose had been to educate. Homer's wisdom became so praised that he began to acquire the image of a prototypical philosopher. Byzantine scholars such as Eustathius of Thessalonica and John Tzetzes produced commentaries and scholia to Homer in the twelfth century.
Eustathius's commentary on the Iliad alone is massive, sprawling nearly 4,000 oversized pages in a twenty-first century printed version and his commentary on the Odyssey an additional nearly 2,000. In 1488, the Greek scholar Demetrios Chalkokondyles published the editio princeps of the Homeric poems; the earliest modern Homeric scholars started with the same basic approaches towards the Homeric poems as scholars in antiquity. The allegorical interpretation of the Homeric poems, so prevalent in antiquity returned to become the prevailing view of the Renaissance. Renaissance humanists praised Homer as the archetypically wise poet, whose writings contain hidden wisdom, disguised through allegory. In western Europe during the Renaissance, Virgil was more read than Homer and Homer was seen through a Virgilian lens. In 1664, contradicting the widespread praise of Homer as the epitome of wisdom, François Hédelin, abbé d'Aubignac wrote a s