Troy From Homer's Iliad to Hollywood Epic - Amazon Web Services

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32 Joachim Latacz – great deeds of Diomedes – Hector in Troy – duel between Hector and Ajax 8. Day 23 (7.381–432): second truce, burials of the dead 9. Day 24 (7.433–482): Greeks build walls around their camp 10. Day 25 and following night (8.1–10.579): Second Day of Fighting – Greeks forced to retreat – Trojans camp on the plain before Troy – Greek embassy to Achilles – Dolon episode 11. Day 26 and following night (11.1–18.617): Third Day of Fighting – great deeds of Agamemnon – great deeds of Hector – Greek leaders wounded – Achilles sends Patroclus to Nestor – fighting at the walls of the Greek camp – Trojans invade Greek camp – fighting by the Greek ships – Hera seduces Zeus – great deeds of Patroclus, his death in a duel with Hector – Achilles’ new armor, description of his shield 12. Day 27 and following night (19.1–23.110a): Fourth Day of Fighting – settlement of quarrel between Agamemnon and Achilles – great deeds of Achilles – duel of Achilles and Hector, Hector’s death III. Conclusion (24 days) 13. Day 28 (23.110b–257a): funeral of Patroclus 14. Day 29 and following night (23.257b –24.21): games in honor of Patroclus 15. Days 30–40 (24.22–30): Achilles abuses Hector’s body 16. Day 41 and following night (24.31–694): Priam visits Achilles and obtains release of Hector’s body 17. Day 42 (24.695–781): Hector brought back to Troy 18. Days 43–50 (24.782–784): third truce 19. Day 51 (24.785–804): funeral of Hector Homer’s ultimate subject was how horribly the wrath of a leader, a great personality, could affect a large common undertaking. This was something new and far more gripping than any of the traditional versions of
From Homer’s Troy to Petersen’s Troy 33 the well-known Trojan War story, for to Homer’s audiences this was an urgent problem at that very time. So Homer’s version of the story reflects current concerns about fundamental issues, among them the applicability of traditional values such as honor, rank, devotion to a common cause, and, above all, qualities of leadership. The Iliad shows us how discussions or quarrels of such a basic nature may arise between two high-ranking and sharply intelligent leaders through an escalation of emotions that leads to the humiliation and dishonor of one of the antagonists. As a result of his quarrel with Agamemnon, Achilles boycotts the common undertaking. He regards his own dishonor to be a suspension of social and ethical norms. The only way he sees for them to become binding on everybody again is to bring about a situation of extreme danger to his own side. Only this, he believes, will force Agamemnon, now faced with the utter ruin of the alliance he leads, to realize his error, make amends, and beg Achilles to return to the Greek army. In this way Achilles and the social norms that all Greeks had previously adhered to will be rehabilitated. Indeed, Achilles’ calculation leads to the desired effect – but only after insulter and insulted alike and, more importantly, the entire alliance have suffered heavy losses in manpower and prestige and have had to abandon their former innocence regarding human existence. All concerned have to realize that later excuses or remorse among their fellow men or acts of revenge against their enemy cannot undo or even alleviate the losses endured. The military alliance survives; it continues to fight and will eventually be victorious. But it has utterly lost any illusions about the excellence or special quality of its leadership. It has learned a sobering, perhaps useful, lesson, but its old fighting spirit is gone forever. This is the deeper contemporary meaning of Homer’s perspective as expressed in the Iliad, as his original listeners and the audiences throughout the eighth century b.c. clearly understood. Evidence of this understanding comes from later epic poems about the matter of Troy that were composed around 600 b.c. At this time Greek culture had made significant advances, brought about mainly by the introduction of writing some 200 years before. Literacy was now almost a matter of course. As a result, people no longer experienced the old stories told orally by aoidoi as often as before and so lost their familiarity with the larger framework of their tales. But these tales presupposed audiences’ knowledge of their contexts, to which the aoidoi constantly alluded; now they ran the risk of being no longer understood. To counteract this growing risk of unfamiliarity, poets began to write down in separate compositions all that the original audiences had
Page 1: Troy From Homer’s Iliad to Hollyw
Page 4 and 5: © 2007 by Blackwell Publishing Ltd
Page 6 and 7: vi Contents 7 From Greek Myth to Ho
Page 8 and 9: viii List of Plates 11 Maria Corda
Page 10 and 11: x Notes on Contributors (South Slav
Page 13 and 14: Editor’s Introduction Editor’s
Page 15 and 16: Editor’s Introduction 3 stress di
Page 17 and 18: Editor’s Introduction 5 expected
Page 19 and 20: Editor’s Introduction 7 Das Boot
Page 21 and 22: Editor’s Introduction 9 Geschicht
Page 23 and 24: Editor’s Introduction 11 The grea
Page 25 and 26: Editor’s Introduction 13 are also
Page 27 and 28: Editor’s Introduction 15 The most
Page 29 and 30: Editor’s Introduction 17 regina d
Page 31 and 32: Editor’s Introduction 19 Zewadski
Page 33 and 34: Was There a Trojan War? 21 And we d
Page 35 and 36: Was There a Trojan War? 23 this:
Page 37 and 38: Was There a Trojan War? 25 Geograph
Page 39 and 40: chapter two From Homer’s Troy to
Page 41 and 42: From Homer’s Troy to Petersen’s
Page 43: From Homer’s Troy to Petersen’s
Page 55 and 56: chapter three The Iliad and the Cin
Page 57 and 58: The Iliad and the Cinema 45 ignore
Page 59 and 60: The Iliad and the Cinema 47 memorab
Page 61 and 62: The Iliad and the Cinema 49 spectac
Page 63 and 64: The Iliad and the Cinema 51 Ancient
Page 65 and 66: The Iliad and the Cinema 53 And the
Page 67 and 68: The Iliad and the Cinema 55 to smas
Page 69 and 70: The Iliad and the Cinema 57 chariot
Page 71 and 72: The Iliad and the Cinema 59 ends as
Page 73 and 74: The Iliad and the Cinema 61 shot mi
Page 75 and 76: The Iliad and the Cinema 63 Roman p
Page 77 and 78: The Iliad and the Cinema 65 is also
Page 79 and 80: The Iliad and the Cinema 67 Trojan
Page 81 and 82: The Story of Troy Through the Centu
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The Story of Troy Through the Centu
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chapter five Viewing Troy: Authenti
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Viewing Troy: Authenticity, Critici
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chapter six Troy and the Role of th
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Troy and the Role of the Historical
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Troy and the Role of the Historical
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3. Troy and the British Museum Troy
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chapter seven From Greek Myth to Ho
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From Greek Myth to Hollywood Story
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chapter eight The Fate of Troy Step
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The Fate of Troy 121 she can relate
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The Fate of Troy 123 It hardly seem
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The Fate of Troy 125 Not like you w
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The Fate of Troy 127 son, / will ta
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The Fate of Troy 129 Petersen does
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chapter nine Helen of Troy Monica S
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Helen of Troy 133 awarded the golde
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Helen of Troy 135 literary traditio
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Helen of Troy 137 mane of the Spart
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Helen of Troy 139 people of the fut
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Helen of Troy 141 well versed in gi
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Helen of Troy 143 epic, Hector goes
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Helen of Troy 145 demands that its
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Helen of Troy 147 portrays Agamemno
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Briseis in Homer, Ovid, and Troy 14
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chapter eleven Troy and Memorials o
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Troy and Memorials of War 165 him.
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Troy and Memorials of War 167 invad
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Troy and Memorials of War 169 every
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Troy and Memorials of War 171 ing t
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Troy and Memorials of War 173 Peter
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Troy and Memorials of War 175 Peter
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Troy and Memorials of War 177 every
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Troy and Memorials of War 179 Troy
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Troy and Memorials of War 181 paral
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Troy and Memorials of War 183 Congr
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Troy and Memorials of War 185 movin
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The Realist Politics of Troy 187 Gr
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The Realist Politics of Troy 189 In
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The Realist Politics of Troy 191 of
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The Realist Politics of Troy 193 Ag
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The Realist Politics of Troy 195 th
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The Realist Politics of Troy 197 of
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The Realist Politics of Troy 199 Sp
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The Realist Politics of Troy 201 th
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The Trojan War on the Screen 203 th
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1927 The Trojan War on the Screen 2
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The Trojan War on the Screen 207 th
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The Trojan War on the Screen 209 of
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The Trojan War on the Screen 211 pr
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The Trojan War on the Screen 213 La
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1996 The Trojan War on the Screen 2
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Bibliography 217 Bazin, André. Wha
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Bibliography 219 Fagles, Robert (tr
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Bibliography 221 Lauring, Palle. A
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Bibliography 223 Quintus of Smyrna.
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Bibliography 225 West, M. L. (ed. a
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Batrachomyomachia 88 Battle of Brit
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Jones, Terry 91 n. 11 Joyce, James
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Thucydides 73, 89, 187, 192, 198 Ti
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Allie
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Allie
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Plate 1 The ruins of Troy today (vi
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Plate 3 Computer reconstruction of
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Plate 6 Achilles tending the wound
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Plate 8 The duel of Achilles and He
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Plate 10 Priam begging Achilles for
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Plate 12 The Bronze-Age palace of K
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Plate 14 The model set of Troy, “
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Plate 16 The wooden horse approache
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Plate 18 A tiny Achilles before the
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Plate 20 Which is the face that sho
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