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
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
Pausanias was a Greek traveler and geographer of the second-century AD, who lived in the time of Roman emperors Hadrian, Antoninus Pius, Marcus Aurelius. He is famous for his Description of Greece, a lengthy work that describes ancient Greece from his first-hand observations; this work provides crucial information for making links between classical literature and modern archaeology. Andrew Stewart assesses him as: A careful, pedestrian writer...interested not only in the grandiose or the exquisite but in unusual sights and obscure ritual. He is careless or makes unwarranted inferences, his guides or his own notes sometimes mislead him, yet his honesty is unquestionable, his value without par. Pausanias was born in 110 AD into a Greek family and was a native of Lydia. Before visiting Greece, he had been to Antioch and Jerusalem, to the banks of the River Jordan. In Egypt, he had seen the pyramids. While at the temple of Ammon, he had been shown the hymn once sent to that shrine by Pindar. In Macedonia, he appears to have seen.
Crossing over to Italy, he had seen something of the wonders of Rome. He was one of the first known to write of seeing the ruins of Troy, Alexandria Troas, Mycenae. Pausanias' Description of Greece is in each dedicated to some portion of Greece, he begins his tour in Attica, where the city of its demes dominate the discussion. Subsequent books describe Corinthia, Messenia, Achaea, Boetia and Ozolian Locris; the project is more than topographical. Pausanias digresses from the description of architectural and artistic objects to review the mythological and historical underpinnings of the society that produced them; as a Greek writing under the auspices of the Roman empire, he was in an awkward cultural space, between the glories of the Greek past he was so keen to describe and the realities of a Greece beholden to Rome as a dominating imperial force. His work bears the marks of his attempt to navigate that space and establish an identity for Roman Greece, he is not a naturalist by any means, although from time to time, he does comment on the physical realities of the Greek landscape.
He notices the pine trees on the sandy coast of Elis, the deer and the wild boars in the oak woods of Phelloe, the crows amid the giant oak trees of Alalcomenae. It is in the last section that Pausanias touches on the products of nature, such as the wild strawberries of Helicon, the date palms of Aulis, the olive oil of Tithorea, as well as the tortoises of Arcadia and the "white blackbirds" of Cyllene. Pausanias is most of Delphi, yet in the most secluded regions of Greece, he is fascinated by all kinds of depictions of deities, holy relics, many other sacred and mysterious objects. At Thebes he views the shields of those who died at the Battle of Leuctra, the ruins of the house of Pindar, the statues of Hesiod, Arion and Orpheus in the grove of the Muses on Helicon, as well as the portraits of Corinna at Tanagra and of Polybius in the cities of Arcadia. Pausanias has the instincts of an antiquary; as his modern editor, Christian Habicht, has said, In general, he prefers the old to the new, the sacred to the profane.
Some magnificent and dominating structures, such as the Stoa of King Attalus in the Athenian Agora or the Exedra of Herodes Atticus at Olympia are not mentioned. Unlike a Baedeker guide, in Periegesis Pausanias stops for a brief excursus on a point of ancient ritual or to tell an apposite myth, in a genre that would not become popular again until the early nineteenth century. In the topographical part of his work, Pausanias is fond of digressions on the wonders of nature, the signs that herald the approach of an earthquake, the phenomena of the tides, the ice-bound seas of the north, the noonday sun that at the summer solstice, casts no shadow at Syene. While he never doubts the existence of the deities and heroes, he sometimes criticizes the myths and legends relating to them, his descriptions of monuments of art are unadorned. They bear the impression of reality, their accuracy is confirmed by the extant remains, he is frank in his confessions of ignorance. When he quotes a book at second hand he takes pains to say so.
The work left faint traces in the known Greek corpus. "It was not read", Habicht relates. The only manuscripts of Pausanias are three fifteenth-century copies, full of errors and lacunae, which all appear to depend on a single manuscript that survived to be copied. Niccolò Niccoli had this archetype in Florence in 1418. At his death in 1437, it went to the library of San Marco, Florence it disappeared after 1500; until twentieth-century archaeologists concluded that Pausanias was a reliable guide to the sites they were excavating, Pausanias was la
Ajax the Lesser
Ajax was a Greek mythological hero, son of Oileus, the king of Locris. He was called the "lesser" or "Locrian" Ajax, to distinguish him from Ajax the Great, son of Telamon, he was the leader of the Locrian contingent during the Trojan War. He is a significant figure in Homer's Iliad and is mentioned in the Odyssey, in Virgil's Aeneid and in Euripides' The Trojan Women. In Etruscan legend, he was known as Aivas Vilates. Ajax's mother's name was Eriopis. According to Strabo, he was born in Naryx in Locris. According to the Iliad, he led his Locrians in forty ships against Troy, he is described as one of the great heroes among the Greeks. In battle, he wore a linen cuirass, was brave and intrepid skilled in throwing the spear and, next to Achilles, the swiftest of all the Greeks. In the funeral games at the pyre of Patroclus, Ajax contended with Odysseus and Antilochus for the prize in the footrace. In traditions, this Ajax is called a son of Oileus and the nymph Rhene and is mentioned among the suitors of Helen.
After the taking of Troy, he rushed into the temple of Athena, where Cassandra had taken refuge, was embracing the statue of the goddess in supplication. Ajax violently dragged her away to the other captives. According to some writers, he raped Cassandra inside the temple. Odysseus called for Ajax's death by stoning for this crime, but Ajax saved himself by claiming innocence with an oath to Athena, clutching her statue in supplication. Since Ajax dragged a supplicant from her temple, Athena had cause to be indignant. According to the Bibliotheca, no one was aware that Ajax had raped Cassandra until Calchas, the Greek seer, warned the Greeks that Athena was furious at the treatment of her priestess and she would destroy the Greek ships if they didn't kill him immediately. Despite this, Ajax managed to hide in the altar of a deity where the Greeks, fearing divine retribution should they kill him and destroy the altar, allowed him to live; when the Greeks left without killing Ajax, despite their sacrifices, Athena became so angry that she persuaded Zeus to send a storm that sank many of their ships.
As he was returning from Troy, Athena hit his ship with a thunderbolt and the vessel was wrecked on the Whirling Rocks. But he escaped with some of his men, managing to cling onto a rock through the assistance of Poseidon, he would have been saved in spite of Athena, but he audaciously declared that he would escape the dangers of the sea in defiance of the immortals. Offended by this presumption, Poseidon split the rock with his trident and Ajax was swallowed up by the sea. Thetis buried him. Other versions depict a different death for Ajax. In these versions, when Ajax came to the Capharean Rocks on the coast of Euboea, his ship was wrecked in a fierce storm, he himself was lifted up in a whirlwind and impaled with a flash of rapid fire from Athena in his chest, his body thrust upon sharp rocks, which afterwards were called the rocks of Ajax. After Ajax's death, his spirit dwelt in the island of Leuce; the Opuntian Locrians worshiped Ajax as their national hero, so great was their faith in him that when they drew up their army in battle, they always left one place open for him, believing that, although invisible to them, he was fighting for and among them.
The story of Ajax was made use of by ancient poets and artists, the hero who appears on some Locrian coins with the helmet and sword is this Ajax. Other accounts of Ajax's death are offered by the scholiast on Lycophron; the abduction of Cassandra by Ajax was represented in Greek works of art, such as the chest of Cypselus described by Pausanias and in extant works. This article incorporates text from a publication now in the public domain: Smith, William, ed.. "Ajax". Dictionary of Greek and Roman Biography and Mythology; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Ajax". Encyclopædia Britannica. 1. Cambridge University Press. P. 452
Catalogue of Women
The Catalogue of Women — known as the Ehoiai — is a fragmentary Greek epic poem, attributed to Hesiod during antiquity. The "women" of the title were in fact heroines, many of whom lay with gods, bearing the heroes of Greek mythology to both divine and mortal paramours. In contrast with the focus upon narrative in the Homeric Iliad and Odyssey, the Catalogue was structured around a vast system of genealogies stemming from these unions and, in M. L. West's appraisal, covered "the whole of the heroic age." Through the course of the poem's five books, these family trees were embellished with stories involving many of their members, so the poem amounted to a compendium of heroic mythology in much the same way that the Hesiodic Theogony presents a systematic account of the Greek pantheon built upon divine genealogies. Most scholars do not believe that the Catalogue should be considered the work of Hesiod, but questions about the poem's authenticity have not lessened its interest for the study of literary and historical topics.
As a Hesiodic work that treats in depth the Homeric world of the heroes, the Catalogue offers a transition between the divine sphere of the Theogony and the terrestrial focus of the Works and Days by virtue of its subjects' status as demigods. Given the poem's concentration upon heroines in addition to heroes, it provides evidence for the roles and perceptions of women in Greek literature and society during the period of its composition and popularity. Greek aristocratic communities, the ruling elite, traced their lineages back to the heroes of epic poetry. Many of the myths in the Catalogue are otherwise unattested, either so or in the form narrated therein, held a special fascination for poets and scholars from the late Archaic period through the Hellenistic and Roman eras. Despite its popularity among the Hellenistic literati and reading public of Roman Egypt, the poem went out of circulation before it could pass into a medieval manuscript tradition and is preserved today by papyrus fragments and quotations in ancient authors.
Still, the Catalogue is much better attested than most "lost" works, with some 1,300 whole or partial lines surviving: "between a third and a quarter of the original poem", by one estimate. The evidence for the poem's reconstruction—not only elements of its content, but the distribution of that content within the Catalogue—is indeed extensive, but the fragmentary nature of this evidence leaves many unresolved complexities and has over the course of the past century led to several scholarly missteps. Ancient authors most referred to the poem as the Catalogue of Women, or the Catalogue, but several alternate titles were employed; the tenth-century encyclopedia known as the Suda gives an expanded version, the Catalogue of Heroic Women, another late source, the twelfth-century Byzantine poet and grammarian Tzetzes, prefers to call the poem the Heroic Genealogy. But the earliest and most popular alternate title was Ehoiai, after the feminine formula ē' hoiē, "or such as", which introduces new sections within the poem via the introduction of a heroine or heroines.
This nickname provided the standard title for a similar Hesiodic work, the Megalai Ehoiai or Great Ehoiai. As is reflected by its use as an alternate title, the ē' hoiē-formula was one of the poem's most recognizable features, it may have belonged to a genre of poetry that listed notable heroines, but in the Catalogue the formula is used as a structuring tool that allows the poet to resume a broken branch of a family tree, or to jump horizontally across genealogies to a new figure and line of descent. A characteristic example is found in the introduction of the daughters of Porthaon at Cat. fr. 26.5–9: The preceding section of the poem had dealt at some length with the extended family of Porthaon's sister Demodice, tracing her line down to the generation following the Trojan War. Here ē' hoiai is used to jump backwards in order to complete the account of the descendants of Porthaon and Demodice's father Agenor by covering the son's family. Elsewhere the formula is used in transitions to more distant branches.
The Ehoie of Mestra, for example serves to reintroduce the family of Sisyphus, Mestra's great-granduncle who hoped to win her as bride for his son Glaucus. Although that marriage does not take place, the descendants of Sisyphus are soon presented. According to the Suda, the Catalogue was five books long; the length of each is unknown, but it is that the entire poem consisted of anywhere from 4000 to over 5000 lines. The majority of the content was structured around major genealogical units: the descendants of Aeolus were found in book 1 and at least part of book 2, followed by those of Inachus, Pelasgus and Pelops in the books, it is believed that a rough guide to this structure can be found in the Bibliotheca, a Roman-era mythological handbook transmitted under the name of Apollodorus of Athens which used the Catalogue as a primary source for many genealogical details and appears to have followed the poem's overall arrangement. The first is by far the best-attested book of the poem, with several extensive papyri overlapping ancient quotations or coinciding with paraphrases: at least 420 verses of dactylic hexameter survive in part or entire.
One papyrus includes line numbers which, taken together with the system of overl
In Greek mythology, Achilles or Achilleus was a Greek hero of the Trojan War and the central character and the greatest warrior of Homer's Iliad. His mother was the immortal Nereid Thetis, his father, the mortal Peleus, was the king of the Myrmidons. Achilles' most notable feat during the Trojan War was the slaying of the Trojan hero Hector outside the gates of Troy. Although the death of Achilles is not presented in the Iliad, other sources concur that he was killed near the end of the Trojan War by Paris, who shot him in the heel with an arrow. Legends state that Achilles was invulnerable in all of his body except for his heel because, when his mother Thetis dipped him in the river Styx as an infant, she held him by one of his heels. Alluding to these legends, the term "Achilles' heel" has come to mean a point of weakness in someone or something with an otherwise strong constitution; the Achilles tendon is named after him due to these legends. Linear B tablets attest to the personal name Achilleus in the forms a-ki-re-u and a-ki-re-we, the latter being the dative of the former.
The name grew more popular becoming common soon after the seventh century BC and was turned into the female form Ἀχιλλεία, attested in Attica in the fourth century BC and, in the form Achillia, on a stele in Halicarnassus as the name of a female gladiator fighting an "Amazon". Achilles' name can be analyzed as a combination of ἄχος "distress, sorrow, grief" and λαός "people, nation", resulting in a proto-form *Akhí-lāu̯os "he who has the people distressed" or "he whose people have distress"; the grief or distress of the people is a theme raised numerous times in the Iliad. Achilles' role as the hero of grief or distress forms an ironic juxtaposition with the conventional view of him as the hero of κλέος kléos. Furthermore, laós has been construed by Gregory Nagy, following Leonard Palmer, to mean "a corps of soldiers", a muster. With this derivation, the name obtains a double meaning in the poem: when the hero is functioning rightly, his men bring distress to the enemy, but when wrongly, his men get the grief of war.
The poem is in part about the misdirection of anger on the part of leadership. Another etymology relates the name to a Proto-Indo-European compound *h₂eḱ-pṓds "sharp foot" which first gave an Illyrian *āk̂pediós, evolving through time into *ākhpdeós and *akhiddeús; the shift from -dd- to -ll- is ascribed to the passing of the name into Greek via a Pre-Greek source. The first root part *h₂eḱ- "sharp, pointed" gave Greek ἀκή, ἀκμή and ὀξύς, whereas ἄχος stems from the root *h₂egʰ- "to be upset, afraid"; the whole expression would be comparable to the Latin acupedius "swift of foot". Compare the Latin word family of aciēs "sharp edge or point, battle line, engagement", acus "needle, bodkin", acuō "to make pointed, whet; some topical epitheta of Achilles in the Iliad point to this "swift-footedness", namely ποδάρκης δῖος Ἀχιλλεὺς or more πόδας ὠκὺς Ἀχιλλεύς. Some researchers deem the name a loan word from a Pre-Greek language. Achilles' descent from the Nereid Thetis and a similarity of his name with those of river deities such as Acheron and Achelous have led to speculations about him being an old water divinity.
Robert S. P. Beekes has suggested a Pre-Greek origin of the name, based among other things on the coexistence of -λλ- and -λ- in epic language, which may account for a palatalized phoneme /ly/ in the original language. Achilles was the son of the Nereid Thetis and of Peleus, the king of the Myrmidons. Zeus and Poseidon had been rivals for the hand of Thetis until Prometheus, the fore-thinker, warned Zeus of a prophecy that Thetis would bear a son greater than his father. For this reason, the two gods withdrew their pursuit, had her wed Peleus. There is a tale which offers an alternative version of these events: In the Argonautica Zeus' sister and wife Hera alludes to Thetis' chaste resistance to the advances of Zeus, pointing out that Thetis was so loyal to Hera's marriage bond that she coolly rejected the father of gods. Thetis, although a daughter of the sea-god Nereus, was brought up by Hera, further explaining her resistance to the advances of Zeus. Zeus was furious and decreed. According to the Achilleid, written by Statius in the 1st century AD, to non-surviving previous sources, when Achilles was born Thetis tried to make him immortal by dipping him in the river Styx.
However, he was left vulnerable at the part of the body by: his left heel. It is not clear. In another version of this story, Thetis anointed the boy in ambrosia and put him on top of a fire in order to burn away the mortal parts of his body, she was abandoned both father and son in a rage. However, none of the sources before Statius make any reference to this general invulnerability. To the contrary, in the Iliad Homer mentions Achilles being wounded: in Book 21 the Paeonian hero Asteropaeus, son of Pelagon, challenged Achilles by the river Scamander, he cast two spears at once, one grazed Achilles' elbow, "drawing a spurt of blood". In the fragmentary poems of the Epic Cycle
In Greek mythology, Antilochus was a prince of Pylos and one of the Achaeans in the Trojan War. Antilochus was the son of King Nestor either by Eurydice, he was the brother to Thrasymedes, Polycaste, Stratichus, Aretus and Pisistratus. One of the suitors of Helen of Troy, Antilochus accompanied his father and his brother Thrasymedes to the Trojan War, he was distinguished for his beauty, swiftness of foot, skill as a charioteer. Though the youngest among the Greek princes, he commanded the Pylians in the war and performed many deeds of valour, he was a favorite of the gods and a friend of Achilles, to whom he was commissioned to announce the death of Patroclus. When his father Nestor was attacked by Memnon, Antilochus sacrificed himself to save him, thus fulfilling an oracle which had warned to "beware of an Ethiopian." Antilochus' death was avenged by Achilles, who drove the Trojans back to the gates, where he is killed by Paris. In accounts, he was slain by Hector or by Paris in the temple of the Thymbraean Apollo together with Achilles His ashes, along with those of Achilles and Patroclus, were enshrined in a mound on the promontory of Sigeion, where the inhabitants of Ilium offered sacrifice to the dead heroes.
In the Odyssey, the three friends are represented as united in the underworld and walking together in the Asphodel Meadows. According to Pausanias, they dwell together on the island of Leuke. Among the Trojans he killed were Melanippus, Atymnius and Thoon, although Hyginus records that he only killed two Trojans. At the funeral games of Patroclus, Antilochus finished second in the chariot race and third in the foot race. Antilochus left behind in Messenia a son Paeon, whose descendants were among the Neleidae expelled from Messenia, by the descendants of Heracles. Dares Phrygius, from The Trojan War; the Chronicles of Dictys of Crete and Dares the Phrygian translated by Richard McIlwaine Frazer, Jr.. Indiana University Press. 1966. Online version at theio.com Gaius Julius Hyginus, Fabulae from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project. Homer, The Odyssey with an English Translation by A.
T. Murray, PH. D. in two volumes. Cambridge, MA. Harvard University Press. Online version at the Perseus Digital Library. Greek text available from the same website. Homer, The Iliad with an English Translation by A. T. Murray, Ph. D. in two volumes. Cambridge, MA. Harvard University Press. Online version at the Perseus Digital Library. Homer, Homeri Opera in five volumes. Oxford, Oxford University Press. 1920. Greek text available at the Perseus Digital Library. Pausanias, Description of Greece. W. H. S. Jones. Loeb Classical Library. Cambridge, Massachusetts: Harvard University Press. Vol. 1. Books I–II: ISBN 0-674-99104-4. Pindar, Odes translated by Diane Arnson Svarlien. 1990. Online version at the Perseus Digital Library. Pindar, The Odes of Pindar including the Principal Fragments with an Introduction and an English Translation by Sir John Sandys, Litt. D. FBA. Cambridge, MA. Harvard University Press. Greek text available at the Perseus Digital Library. Pseudo-Apollodorus, The Library with an English Translation by Sir James George Frazer, F.
B. A. F. R. S. in 2 Volumes, Cambridge, MA, Harvard University Press. Online version at the Perseus Digital Library. Greek text available from the same website. Strabo, The Geography of Strabo. Edition by H. L. Jones. Cambridge, Mass.: Harvard University Press. Online version at the Perseus Digital Library. Strabo, Geographica edited by A. Meineke. Leipzig: Teubner. 1877. Greek text available at the Perseus Digital Library; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Antilochus". Encyclopædia Britannica. 2. Cambridge University Press. Pp. 126–127