The Iliad: Fate

That’s Zeus. Feel his power. Some say this bronze statue, recovered from the sea, is Poseidon. It is not. It is Zeus because he is about to hurl his thunderbolt, and even earthshaker Poseidon must yield to that.

With all his power over gods and men, Zeus must not change fate.

Then the bright-eyed goddess Athene said to him: ‘Father, master of the bright lightning and the dark clouds, what is this you are saying? Do you intend to take a man who is mortal and long ago doomed by fate, and release him from grim death? Do it then — but we other gods will not all approve you.’

Fate is for men, and all men have the same fate: to die, whether heroically or not. So Patroklus “met the day of his fate” but, intentionally or not, he chose the day.

…this was a fatal error, poor fool — if he had kept to the instruction of the son of Peleus, he would have escaped the vile doom of back death. But Zeus’ mind is always stronger than the mind of men…. And it was Zeus then who put the urge in Patroklos’ heart.

So Homer provides us with a confused accountability. Your fate is determined, yet you can make the decision about when to meet it — and Zeus can influence that decision. So why can’t he change the fate itself? Fate is for men, not gods.

Then lord Apollo the far-worker said to him: ‘Earthshaker, you would not say I was in my right mind if I do battle with you for the sake of wretched mortals, who are like leaves — for a time they flourish in a blaze of glory, and feed on the yield of the earth, and then again they fade lifeless. No, let us withdraw from battle immediately, and leave the mortals to fight for themselves.’

You may wish for immortality, but it has drawbacks, Thetis, the goddess mother of Achilles, lives forever while her mortal husband ages and she know that Achilles must die and she cannot prevent or postpone it. A man may live on in his achievements and, if he is a warrior, his greatest achievement is to kill. The greater the man killed, the greater the glory. Thus, Hektor,

And people will say, even men of generations not yet born, as they sail by over the sparkling sea in their many-benched ships: “This is the mound of a man who died long ago. He was the greatest of men, and glorious Hektor killed him.” That is what they will say: and my glory will never die.

And the gods? They live forever and do not care about us. As Hera says, “Let them die or live as fortune has it….”

David Malouf, Ransom

Homer’s Iliad tells of Achilles’ rage; it is also the story of Priam’s grief over the death of his son, the noble Hector, at the hands of Achilles. We know of this rage and that grief, but at the remove of centuries. David Malouf, in Ransom, brings us into the experience.

This novel is also a meditation of the meaning of our roles in life: Achilles’ role as a warrior, Priam’s role as king.

My role was to hold myself apart in ceremonial stillness and let others be my arm, my fist–my breath too when talk was needed, because … I have always had a herald at my side, our good Idaeus, to find words for me. To be seen as a man like other men–human as we are, all of us–would have suggested that I was impermanent and weak. Better to stand still and keep silent, so that when old age came upon me, as it has at last, this world would not see how shaky my grip has become, and how cracked and thin my voice. Only that I am still here. Fixed and permanent.

Priam’s permanence as a king has cost him humanity and the power to express his own human needs. He has also lost — or never had — the daily experiences that most men share of work and occasional hardships and doing without. Priam sets out on a journey to ransom his son, accompanied only by a workingman, a carter, and his two mules. He is allowed to be hot, to be hungry, to speak for himself, and to enjoy the talk that is not ceremonial.

Priam was himself ransomed when, as a boy, he was redeemed from a life of slavery by his sister. Priam’s name means “the price”, the price that was paid for his freedom. It is also, ironically, the price he has paid for many years for his kingship, his sons, and now this war. Malouf brings us back to to Homer again because Homer contains it all: a young man’s rage and and old man’s grief.

Caroline Alexander, The War That Killed Achilles

The subtitle of Caroline Alexander’s book about the Iliad is “The True Story of Homer’s Iliad and the Trojan War.” A little long-winded that subtitle, but accurate. This is a recounting of the Trojan War as Homer told it and Alexander now interprets it. The key players are the combatants, Achilles and Hector, and their leaders, Agamemnon and Priam.

The Iliad glorifies the heroes, but it does not glorify war. Achilles is not at Troy in fulfillment of a pledge to defend the husband of Helen of Troy (originally of Sparta). He is there for glory, and yet he is reluctant to fight. He quarrels with Agamemnon not just because Agamemnon took the girl Briseis who had been awarded to Achilles, but because in the taking Agamemnon showed himself to be capricious and unjust and out for more than his fair share. The booty awarded to a warrior after a battle or a raid honored  the glory he had won, but it was not the glory itself, as Achilles understood. Agamemnon did not understand, and probably did not care to.

The new reader of the Iliad comes to it, expecting the story of the Trojan War. It is not. It is the story of a few days during the tenth year of that war, days during which Achilles withdraws from the battle, Patroclos is killed, and Achilles returns to the fight and slays Hector. We know the rest of the story — the beauty contest of the three goddesses, the abduction of Helen by Paris, the death of Achilles, the Trojan horse, the sacking of Troy — from other sources. Alexander explains,

The complete story of the war was once told by a series of six other epics, known collectively as the Trojan War poems of the Epic Cycle. Composed  at various dates, all considerably later than the Iliad, they also, like the Iliad, drew on much older common traditions.

In Alexander’s analysis of the Iliad she points out many places where Homer’s poem is at variance from that older tradition. Homer skillfully chose his incidents and characters to make real the meaning of leadership, friendship and death in the lives of the Greek and Trojan warriors. He also shows us the grief of mothers and of aged fathers, as parallels are developed between the suffering of Priam and the sorrows of Achilles’ mother, Thetis.

Thetis is a sea nymph, one of the immortals. Married to a mortal man, she gave birth to the mortal Achilles. She is destined to see him die while she lives on. (This is a disadvantage to immortality I had not considered before.) Alexander develops the idea of the inequality of the relationship between the gods who will live forever and the men who will not.

Of greater interest than the nature of the gods per se is the nature of their relationship with mortal men. The Olympians of the Iliad know everything about the mortals they look down upon…. Rarely indolent, usually zestful and opinionated, the extended family of Zeus aggressively engages with the mortal world. In disguise, the Olympians move, speak, and act freely among men, partaking of the human experience….

By contrast, despite the busy flow of divine activity that drums through their lives, the Homeric heroes and heroines know very little about their gods.

Because they know so little, men must propitiate the gods out of a proper caution for the future. Sometimes it works and sometimes it doesn’t. One has a sense here of why Homer still speaks and we still listen: the gods know all including the future toward which men must grope blindly.

There is so much in this book that my comments here are just picking threads off the surface. I enjoyed the comparisons with other myths and folktales, the analysis of names and language, the evidence from archaeology. Best of all was the differentiation of character that Alexander perceives in the Iliad and the way Homer’s construction of the story conveys his views of gods and war and men and, especially, Achilles.

Here was a hero with both the nature and the stature to think and speak as an individual, to stand apart and challenge heroic convention. In the hyperstated mortality of Achilles lay the origins of something potentially greater even than epic — and that was tragedy.