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The Funeral Games of Patroklos in Homer's Iliad and Odyssey
Coming towards the end of a war which has consumed an entire decade and laid waste the lives of many, the Greek warriors in Troy choose to take the time and energy to hold funeral games. This sequence of events leaves the reader feeling confused because it's not something one would expect and seems highly out of place. Throughout the epic Homer tries to describe what it is to be mortal and often contrasts it with what it means to be immortal. Homer uses the funeral games of Patroklos to show crucial differences about the lives of mortals and the lives of gods.
These games come towards the end of a war that has cost thousands of men their lives and all these men should logically want to do is go home. The games and the war are very similar to each other, in each there is a winner and a loser, with the winner taking a prize. The critical difference is that in war people die, a very real consequence. For the gods wars are no different from games, there are winners and there are losers, but there is never any real consequence, because there is no death. Both men and gods must go through trials, tests, and conflicts throughout their existence, but for the gods, life is a meaningless game, and for men, life is a war in which everyone eventually loses.
The games are part of the mourning process for humans because they are a distraction from the reality of their world: for a short time the men who survived the war and are competing in the games, become gods. While people are dying helplessly and great fighters have fallen in the dust, the men are able to forget their worries of death and tragedy and are able t...
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...d and Consulted
Clarke, Howard. Homer's Readers: A Historical Introduction to the Iliad and the Odyssey. Newark, Del.: University of Delaware Press, 1981.
Griffin, Jasper. Homer on Life and Death, 1980, Clarendon Press. Richard Brilliant, "Kirke's Men: Swine and Sweethearts," pp. 165-73.
Homer. The Iliad. trans. Robert Fagles. Penguin Books. New York. 1990.
Homer. The Odyssey. trans. Robert Fagles. Penguin Books. New York. 1996.
"The Odyssey, History, and Women," by A. J. Graham, pp. 3-16, and Jennifer Neils, "Les Femmes Fatales: Skylla and the Sirens in Greek Art," pp. 175-84.
Morford, Mark. Classical Mythology. 5th edition. White Plains, NY: Logman, 1995.
Steiner, George, and Fagles, Robert, eds. Homer: A Collection of Critical Essays. Twentieth Century Views, ed. Maynard Mack. Englewood Cliffs, N. J.: Prentice Hall, 1962.
Homer, The Odyssey, The Norton Anthology of World Masterpieces, ed. Maynard Mack, Expanded Edition, (New York: W. W. Norton, 1995), pp. 219-503.
Homer. The Odyssey: Fitzgerald Translation. Trans. Robert Fitzgerald. New York: Farrar, Straus and Giroux, 1998. Print.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
Also it is comparing the war to a game, which is a euphemism as well as a metaphor. It is a euphemism because war is a very serious, dangerous matter; whereas a game is something that people enjoy and never get seriously injured in. By using this euphemism, Jessie Pope - the poet – lessens the severity of war, and makes her readers’ think of it as enjoyable, and something that they want to do.
Heubeck, Alfred, J.B. Hainsworth, et al. A commentary on Homer's Odyssey. 3 Vols. Oxford 1988
Homer. The Odyssey. The Norton Anthology of World Masterpieces, sixth edition, volume one, New York: W.W. Norton and Co., 1992.
Lawall, Sarah N. “The Odyssey.” The Norton Anthology of Western Literature. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 206-495. Print.
Schein, Seth L. The Mortal Hero: An Introduction to Homer's Iliad. Berkeley: University of California Press, 1984.
Thrall, William flint, Addison Hibbard, and Hugh Holman. A Handbook to Literature. New York: Odyssey, 1960.
Throughout the Iliad the warriors' dream of peace is projected over and over again in elaborate similes developed against a background of violence and death. Homer is able to balance the celebration of war's tragic, heroic values with scenes of battle and those creative values of civilized life that war destroys. The shield of Achilles symbolically represents the two poles of human condition, war and peace, with their corresponding aspects of human nature, the destructive and creative, which are implicit in every situation and statement of the poem and are put before us in something approaching abstract form; its emblem is an image of human life as a whole.
Homer. ?The Odyssey,? World Masterpieces: Expanded Edition. Maynard Mack ed. Ed. Coptic St.: Prentice, 1995.
Homer brings the idea of death into his work through his word choice, and focusing on what the characters are escaping instead of what they are achieving. Oftentimes
of the spotting tile, no more, no less. I will clean out the test tube
Homer, Robert Fagles, and Bernard Knox. The Iliad. New York, N.Y., U.S.A.: Viking, 1990. Print.