Abstract
The paper discusses how honor was a fundamental element of the Greek code of ethics and demonstrates this with the life of Hector and the final battle for his life. The paper looks at how Hector and Achilleus are tragic heroes with many similar characteristics, yet they also are different. The paper argues that when studying the characters of Hector and Achilleus, it is important to look at their family life, their adherence to traditions, and who they are individually as well as their actions as soldiers.

From the Paper
"Would you be willing to face death for honor? A study of the Greek culture will show that honor was a fundamental element of the Greek code of ethics. This can be seen in the life of Hector and the final battle for his life. Hector and Achilleus are tragic heroes with many similar characteristics, yet they also are different. When studying the characters of Hector and Achilleus, it is important to look at their family life, their adherence to traditions, and who they are individually as well as their actions as soldiers. First, take a look at Achilleus. He is the leader of the Achaians and the..."

Tags:character, hero, revenge

Abstract
Focusing on the images presented in Book 18 of "The Iliad", this paper analyzes the various possible interpretations behind the symbolism on Achilleus's shield.

From the Paper
"When Hephaistos creates the shield for Achilleus, he is actually creating the history and potential future of Achilleus's fate. Hephaistos shows on the shield how Achilleus was separated from Agamemnon and the rest of the Achaians after a quarrel over booty. He also depicts how, after extricating himself from that group, Achilleus has to choose between a fate of honorable death in battle or a mediocre, yet happy, existence as an old man. Furthermore, he subtly implies through images how Achilleus's fate is not really in his own hands, but has already been predetermined, regardless of what his mother, Thetis, tells him."

Tags:greek, literature, mythology, trojan, troy, war

Abstract
This paper attempts to explore the Homeric uses of simple light and dark terms to develop possible symbolic meanings in the Lattimore translations of the epics "The Iliad" and "The Odyssey". It first explores references to light then dark uses in both epics and then explores individual uses in each epic. The order of explanation develops the point that in "The Iliad" light and dark references mostly describe war, while in "The Odyssey" the terms develop a wide array of objects and situations because there is no major war.

From the Paper
"First, light seems to appear in both epics when referencing gods, weapons, and other general descriptions. Through reading both epics, one can discover that Homer has utilized light to develop the love and admiration for gods and goddesses, much like other ancient Greek writers. Such descriptions can be seen in The Iliad. In the text Apollo is referred to as: "lord of the silver bow" (Book I, 37) . Throughout the text Homer's descriptions also portray Hera as the goddess with the white arms. Also, when in Olympos the gods and goddesses are said to drink in golden cups. In The Odyssey goddesses are especially referenced through bright terms."

Tags:achaean, achilles, achilleus, athena, odysseus, odyssey, patroklus, telemachus, trojan

Abstract
Using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer, this paper shows how the underlying impetus for drama has from the first been the depiction of conflict. The paper reveals how dramas developed from a religious festival and then became a celebration in itself. Drama, as a literary form and a performance art, involves human beings acting out their inner emotions in a public way and interacting with one another over emotions, ideas, and situations.

From the Paper
"All of these elements are presented in the epic poem, while in a drama, many of these elements would only be mentioned or would be left as knowledge the audience already has because they know the story. Drama is more selective, more concise, and more focused on the dramatic situation than on the sweep of a large-scale story. The dramatic situation in this one scene has shifts and turns even in the short time covered. Priam takes a ransom with him consisting of twelve robes, twelve cloaks, twelve blankets, twelve capes and shirts, ten bars of gold, two tripods, four cauldrons, and a Thracian cup. Priam arrives and immediately grasps Achilleus by the knees, telling of his grief and of the need for Achilleus to be compassionate and to return the body of Hektor. For his part, Achilleus speaks of his won victory by reminding Priam of all that the latter has lost, but he also shows that he is fully aware that the gods have guided Priam to this place and that he must return Hektor to his father. The tension of the opening is never fully dissipated even as Achilleus shows his hospitality and makes certain promises to Priam about holding off the fighting for twelve days while the Trojans bury the son of their ruler. However, just as it appears that the situation is concluded, the god Hermes comes to Priam and warns him to leave now because if the Greeks find him asleep in the morning, they may decide he is worth more as a ransom and will not allow him to leave as Achilleus has promised."

Tags:epic, poem, priam, achilleus, hector, oedipus, eteocles, polyneices, jocasta, ancient, greece, interaction

Abstract
This paper analyzes the different ways in which revenge is portrayed in this book and movie. It explains that revenge is a central motivation in both and issues of revenge are played out in carefully designed meetings between opposing forces. It discusses how the action of Homer's epic "The Iliad" brings two huge armies together, one inside the walls of Troy and the other outside, as a massive act of revenge for the stealing of Helen. The paper explains how in "The Godfather" the film is set around a family involved in organized crime and how the theme of revenge is thread throughout.

From the Paper
"Achilleus withdraws from the fighting to brood, but he relents sufficiently to send his friend Patroklos in his place. Patroklos is slain by Hector, and Achilleus blames himself and seeks revenge. He feels great dishonor at having failed his friend, though in truth he has also failed all the Greeks by brooding rather than by fulfilling his destiny as a warrior. In Book IX, as noted, Agamemnon is about to give up and go home. He sends a messenger to try to assuage Achilleus and bring him back to the fight because he is sorely needed, but Achilleus will not relent. The leaders of the Greeks agree that they should never have appealed to anyone as conceited as Achilleus and that they must fight the Trojans without him. After the death of Patroklos, however, Achilleus will attack the Trojans as if he would defeat them single-handed. He is motivated by the desire for revenge, coupled here with a need to justify himself, and when he kills Hector, he goes too far by dragging Hector's body behind his chariot and by refusing to allow the body to be buried. This necessitates an even greater act of revenge and leads to Achilleus' death."

Tags:trojan, death, hector, Achilleus, Agamemnon, Corleone, greek, mafia

Abstract
This paper discusses how throughout Greek history the relationship between human beings and divine figures is a noticeable and predominant one, evident in myth, and especially literature. The author examines such literature of the time, in particular, Homer's Iliad and Herodotus' Histories, to better understand this unique and extraordinary relationship between humans and divine powers in the ancient Greek world.

From the Paper
"Throughout Greek history the relationship between human beings and divine figures is a noticeable and predominant one. Evidence of this relationship exists in many forms, such as architecture, art, myth, and especially literature. By examining the literature of the time, we as historians, philosophers and archaeologists, among others, can better understand this unique and extraordinary relationship between humans and divine powers in the ancient Greek world. The "Iliad" of Homer demonstrates many principles of this relationship through the story of the Trojan War. The characters, their actions and the events that take place demonstrate the interaction of humans and gods, the individual relationships, the authority of divine power, and the helplessness of humans. We also see the treachery and deceit of the gods towards humans. We can look at other later literary works such as Herodotus' Histories to examine the human and divine relationship as well."

Tags:antiquity, divinity, gods, heroes, religion, roman, trojan, war, achilleus, zeus, patroklos, croesus, apollo, athene, hektor

Abstract
This paper discusses the standpoint of Homer's "Iliad" with particular reference to war and whether it was meant as a piece of pro-war propaganda, or anti-war, or possibly neither. It examines how Homer describes with great skill and art, both the glory of war and the horror of war, each to a varying degree at different stages throughout the poem.

From the Paper
"One could make a strong argument that The Iliad itself goes beyond favouring a war, and actually celebrates the phenomena that is war. Throughout the poem, different characters prove their worth, or lack of it, on the battle field (or as the case may be, not) characters emerge as worthy, or in some cases despicable, based upon their degree of competence and bravery in battle. Paris prefers not to fight, and is characterised as 'the playboy prince' and when he does emerge to fight Menelaus he is dressed in ridiculous leopard skin fatigues. Correspondingly, he receives the scorn of both his family and his lover. Adversely, Achilles wins eternal glory "his name shall live on for a thousand years" by expressly rejecting the option of a long, comfortable yet uneventful life at home."

Tags:achilles, achilleus, paris, troy