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THE ILIAD (Book Club)

 
  

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Haus about we all give each other a big lovely huggle?
08:08 / 15.02.02
quote:Originally posted by Cavatina:
Originally posted by Haus:
That's an certainly an interesting take on Helen, Haus...Historically IRL, also, weren't Helen and her brothers worshipped as gods in Sparta?


Sort of - IIRC the Dioscuri had cults across Greece, whilst Helen seems to have had some sort of cult presence in the Peloponnesus.

A problem for your interpretation though is that, as Homer depicts her in The Iliad, Helen is so guilt-stricken in her consciousness of all the harm that she ('bitch' and 'hateful creature' as she calls herself) has caused, that she seems entirely human. She may have been capriciously goddess-like initially, when simply pursuing her own whims and desires in regard to Paris, but in Troy - in her conversation with Priam (who interestingly exonerates her from blame), in her slighting words to Paris, and again in her lament for Hektor - she is given a human complexity which I found quite surprising.

Oh, sure. Helen clearly isn't divine in the Iliad, but there are hints of of texts in which she is within it. The Iliad itself functions as intertext, or hypertext if you would prefer. And, like Achilles, Helen occasionally appears supernatural as a result of that. Difference being that Achilles sort of breaks through the text - his anger carries him through into a text where he actually *is* something inhuman.

For example, Miles Burrows in his poem, "Economics" takes the line of 5th century Thucydides that the Greeks fought the Trojans not over a woman but to extend their political and economic domination over the eastern Mediterranean world.

Indeed. I'm not great on history, but Schliemann's excavation, along with chronicles describing an attack by the "Sea Peoples" (I forget the Assyrian, but it sounds something like Danaan, IIRC), suggests a dating of somehwere in the 13th century for a major city controlling the Hellespont being destroyed by fire. Coincidence or magic? You decide.

Persephone - Most of this is from memory, although The Greek Mythology Page is a very useful crib. The Atreids' history is covered in the Epitome of Apollodorus, as is Troilus, by the way, Proclus' summaries of the Epic Cycle, the Odyssey, Aeschylus' Agamemnon and the Libation-Bearers (Choeiphoroi) and points south, and referred back to in Euripides' Electra.
That pretty much covers the major stuff, although Tantalus also crops up in Ovid's Metamorphoses IIRC, and there's almost certainly some reference to Pelops in Callimachus - there usually is, although in this case I am thinking of the wooing of Atalanta...
 
 
Mystery Gypt
03:15 / 26.02.02
quote:Originally posted by The Haus of Deletia:
First up, she appears to know, or suspect, that they are in a story, or more exactly a song.


can you give examples of this?

as far as her being a goddess goes, some details of her birth go a ways to suggesting such:


(from yr greek myth link above): quote:Helen, so unbelievable as it may sound, was born from an egg laid by Leda or Nemesis. Four children were born that day from the same mother but from different fathers: Castor 1 and Polydeuces, called the DIOSCURI, and Clytaemnestra and Helen. Of all four Helen and Polydeuces, being the children of Zeus, were immortal, but Castor 1 and Clytaemnestra, being those of King Tyndareus of Sparta, were mortal. Someone has said that the egg from which Helen sprang fell from the moon; but he has already been refuted by others, who argue that even though the moon-women lay eggs, their offspring are fifteen times larger than ours. Those who say that Nemesis was Helen's mother, tell that she, trying to escape Zeus, changed into a fish and other dread creatures. Others say that Nemesis changed into a goose, but was nevertheless conquered by Zeus, who in turn took the likeness of a swan and lay with her. As the fruit of their love Nemesis laid an egg, which was found by a shepherd and given, they say, to Leda. And when Helen was hatched in due time, Leda brought her up as her own daughter.

[ 26-02-2002: Message edited by: Mystery Gypt ]

[ 26-02-2002: Message edited by: Mystery Gypt ]
 
 
Haus about we all give each other a big lovely huggle?
06:44 / 26.02.02
Well indeed.

As for the suspicion that she is aware they are in a poem - that's a postmodern stretch, I admit, but she is tied into the idea of *record*. When we first encounter her, she is embroidering a cloak depicting the current events - which is not supposed to happen, as decorations depict scenes from mythology. She then takes up the function of the catalogue, identifying the champions of the Greeks (despite the fact that the war has been going on for nine years - she is behaving as if they are at the start of the war, because they are at the start of the book), and - although I do not have the book with me, IIRC refers to the Trojans and Achainans as aioidimoi essomenoisi - "singable about" by future men. She's very *bardic*, and as such interacts differently with the structure of the text.
 
 
ONLY NICE THINGS
06:44 / 04.04.02
Returning to this while looking for quotes on mortality, something just struck me about Agamemnon's non-heroic death (Kit-Kat Club, previous page).

Another thing about Agamemnon is that he has this edge of blasphemy. For example, according to one myth cycle, he sacrificed his daughter to get the winds to take the fleet to Troy. His first act in the Iliad is to deny and threaten a priest of Apollo. He gives permission for the Achaian wall which causes so much annoyance to Apollo and Poseidon. As commander of the expedition, he is in some ways responsible for lesser Aias' violation of Athena's sanctuary, and of failign to put him to death for it, and of course he ends up taking the divine (or, more precisely, god-touched) Cassandra as his concubine.

All of this is, I think, kind of encapsulated by the way he is induced to walk over tapestries (or hangings, or...it's a very odd word) in Aeschylus' Agamemnon - it's a sort of pocket hubris which both creates and summarises the conditions for his ignoble death.
 
  

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