According to Aristotle, a tragic hero must be a character of noble stature and greatness while embodying nobility as an inner virtue. Next, while tragic heroes are great, they are never perfect and always posses character flaws to make them more relatable to the masses. Continuing, a tragic hero’s fall from power is the fault of the hero; the result of free choice usually attributed to the heroes imperfection. Next, A hero’s actions result in an increase of self- awareness and self-knowledge. Finally, the fate of a tragic hero does not leave the audience in a state of depression, but draws solemn emotions of pity and sympathy.
From a modern perspective, Achilles ultimately fails to come across as a heroic figure in the Iliad; his actions are trite and petulant when compared to the deeds of the Great Ajax. The two characters are a dichotomy and serve a fundamental purpose of comparison within the text. Achilles is interested only in kleos, his personal glory, which he attains through the sacrifice of thousands of his comrades in arms. The Great Ajax, however, is consumed only with the safety and wellbeing of his fellow soldiers, and doesn’t hesitate to put himself in harms way in order to protect them. A character will fail to come across as heroic without self-sacrifice.
Major as well as minor aspects are evidently removed or altered, and can be seen when comparing the poem to the film. Though the Iliad and Troy share differences, both works are fuelled by jealousy, greed, and pride. When comparing the Iliad to Troy, one of the most influential aspects of the poem is absent in the movie, the gods. The divine intervention between the gods and goddesses and the characters in the Iliad plays a significant role in the understanding of the work. The film does, however, convince the audience that the characters are firm believers in the gods.
Homer effectively shows readers through praise how admirable Achilles is, making him the justified character. Achilles essentially thought that Agamemnon was a coward according to his quote: “With a dog’s eyes and a rabbit’s heart! You’ve never had the guts to buckle on armor in battle…Confiscating prizes from the Greeks who talks back, and bleeding your people dry” (Homer xvii). Achilles believes that Agamemnon
Some of the times being in book five and six. The gods complain to Zeus and squabble among themselves, while the mortal engage in their own armed warfare. When the gods don’t get what they want they complain and moan and then decide to involve themselves in the mortal war only because the tide of war doesn’t flow in the direction that the gods desire. When they do involve themselves in battle Aphrodite and complain when they get hurt. In this instance it seems to me as if they are not used to using simple logic and reason, they involve themselves in battle yet expect to have no harm done to them.
The addition of Apollo to the Olympian order bridged this gap between gods and men since Apollo was now the mediator between Zeus and mankind. Apollo uses his attributes of music, archery and prophecy throughout the hymn to strengthen the relationship between gods and mankind as well to secure the order in Olympus. In the poem the gods muse at the human suffering and their defenceless nature. The gods laugh at how the humans cannot defend themselves against growing old or how they cannot avert death. Though they seem to have a perfect life, the gods require humans to express their majesty.
Zeus took pity of the King and gave him, as recompense for his son, brisk trotting horses, the kind which carry the gods. Zeus also ordered Hermes to explain everything, including the fact that Ganymede would be immortal and would never grow old. When Tros heard this message from Zeus, he stopped mourning and he rejoiced within his heart. The relationship between Ganymede and Zeus is disturbing in todays society for several reasons. The first reason for this is the blatant promiscuity of Zeus.
In the two epics I am familiar with (Beowulf and Odysseus), both “heroes” were originally driven by their own hubris, ego, and self-admiration. Yet, as they progressed throughout the story, they found that they are no longer propelled by themselves and their ideals, rather, the values of the civilization or purer intentions all-together. The interesting thing about epics is the incorporation of the struggle between man and god. In Greek epics, some gods help the hero on his quest, for example, Athena aiding Odysseus on his journey home. Nevertheless, there always stands that one deity who someone just had to piss off.
In the odyssey, the gods are vital within the structure of the story. Their role determines the events within the odyssey and how exciting they are. Though they are success in making the story interesting, so may feel that the repetitive interference of the gods devalues both Odysseus and the plot. In book five of the odyssey, it begins with the council of the gods deciding on Odysseus’s fate. Athena speaks to her father Zeus of Odysseus’s constant misfortune.
Homer uses phrases like, "...noble bright-helmeted Hector..."(398;Book 22), "...man-killing Hector..." (149;Book 6), and "Resplendent Hector..."(146;Book 6) to describe the Trojan soldier, while he praises Hector's Greek opponent with such expressions as "Achilles, peer of the plume-waving war god..."(145;Book 22) and "...Achilles, swift of foot..."(182;Book 1). Homer's diction consistently portrays the two heroes as godlike and noble throughout the poem. A second characteristic that defines a hero in The Iliad is that they are