Figures in the Iliad

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This article describes the characters in the Iliad , one of the oldest works in Greek and European literature.

People

Achaeans

In Homer's epics, the name Achaeans, next to Danaer and Argiver, generally stands for the Greeks who fought against Troy.

Achilles
Achilles sacrifices Zeus in this picture in the Ilias Ambrosiana , which was made in Constantinople around 500; today in the Biblioteca Ambrosiana in Milan.

Achilles is the strongest Greek fighter. With the refusal of the offer of reconciliation by the embassy sent by Agamemnon in the ninth book of the Iliad, Achilles incurs the incomprehension of his Greek companions and isolates himself from them. This conflict is not resolved until the nineteenth book. In battles, the best Greek fighter is more cruel than, for example, Aias and Hector. Otherwise it has a rather mild character. His death is announced to him, but that he is to be killed by the Achilles' heel is not mentioned. He generally accepts Agamemnon's claim to leadership as it enables him to steal prey. The great-grandson of Zeus, grandson of Aiakos and son of Thetis and Peleus leads a contingent of 50 ships and the Myrmidons as fighters from Phthia to Troy. Achilles' son Neoptolemus does not appear actively in the Iliad and is only mentioned. According to Nestor, Achilles speaks most often and most extravagantly.

Agamemnon

Agamemnon is the leader of the Greeks, he drives the Apollo priest Chryes out of the community. From this a conflict develops with Achilles and with the people, which only resolves itself in the nineteenth book. Although he is the most powerful king, he is not allowed to rule over the other princes, as they willingly followed him - he even has to keep them balanced. He is often insecure. The ruler of the area around Argos and Mycenae leads the largest and best contingent with 100 ships to Ilios. In the Iliad, Agamemnon is the grandson of Pelops , son of Atreus , nephew of Thyestes , husband of Clytaimnestra and father of Orestes, Chrysothemis, Laodike and Iphianassa. Elektra and Iphigenia, which Euripides mentions in the same wording as Agamemnon's daughters, are not mentioned in the Iliad - whether there is a linguistic connection between Iphianassa and Iphigenia is unclear. Whether the Iliad poet was aware of the sacrifice of Iphigenia in Aulis before the journey to Ilios is a matter of dispute - the Kyprian poet and Sophocles see.

The great Aias
This sculpture of the great Aias from the Temple of Aphaia on Aegina, which was made between 505 and 500 BC, is in the Glyptothek in Munich.

Ajax the Great is a great hero of the Greeks. It was difficult for the author of the Iliad to present himself to the second strongest man of the Achaeans, but still let the Trojans get to the ships. He defends them in a kind of aristocracy . The son of Telamon leads twelve ships from Salamis to Ilios. In later texts Telamon is a son of Aiakos, and thus the great Aias cousin of Achilles.

Little Aias
Oil portrait of Little Aias by Henri Serrur from 1820, which is in the Musée des Beaux-Arts in Lille.

Ajax the little one is the son of Oïleus and the Eriopis is a fast, but not a big and strong fighter. The leader of the Lokrians and the leader of 40 ships step back behind his namesake.

Diomedes

Diomedes is the youngest of the kings, but so strong that he is even more feared by the Trojans than Achilles and can even almost defeat Aias, the strongest Achaean after Achilles, in a competition before the fight is over to save Aias' life . Some deeds of the son of Tydeus have probably been added later. His Aitolian grandfather Oineus is connected to the Lycian grandfather of Glaukos, Bellerophontes, through hospitality. His other grandfather is Adrestos , whose one daughter is Diomedes' mother and whose other daughter Aigialeia - his aunt - he has taken as his wife. Diomedes and his charioteer Sthenelos brought 80 ships to Ilios from the regions around Argos and Tiryns.

Idomeneus

Idomeneus is descended from Zeus - he is the grandson of Minos and son of Deucalion . As King of Crete, he and his companion Meriones lead 80 ships to Ilios.

Kalchas

Kalchas is a son of Thestor, he appears in the Iliad only as a seer and bird interpreter.

Machaon

Machaon is mainly a doctor like his father Asklepios - he heals Menelaus' wounds - but he also appears in battle as a fighter and is ultimately even wounded himself, whereupon Achilles inquires about his health via an errand through Patroclus.

Menelaus

Menelaus , ruler of Lacedaemon , is Agamemnon's brother and Helena's husband. The fact that his wife was kidnapped from Paris is the cause of the Trojan War and the short excerpt in the Iliad. He commands 60 ships, but is not an outstanding fighter, so that his brother prevents him from a duel with him for fear of losing to Hector. For this he can excel in the defense of Patroclus' corpse.

Meriones

The son of Molos and companion of Idomeneus likes to appear in the foreground and next to the great heroes.

Nestor

Nestor is a clever old man. The mythical age of the heroes is not far from the time of the Iliad: Nestor, who lived through three generations and is therefore the oldest fighter before Ilios, still fought with Heracles , who had killed his brothers. He sees himself as the best speaker and therefore often gives advice. In his youth men were stronger than in the time told in the Iliad. But the author of the Iliad also describes a degeneration of his time in relation to the Iliadic period. The ruler of Pylos and son of Neleus leads 90 ships to Ilios, whose crew includes two of his sons, the youngest and fastest of the Achaeans, Antilochus, and Thrasymedes, who take part in the battles off Ilios.

Odysseus

Odysseus is an advisor marked by his cleverness. He came to Ilios with twelve ships with the Kephallenen from Ithaca and the surrounding area. The son of Laërtes 'and father Telemachus' also appears in fights. The Iliad does not know the consequences of the contest for Achilles' weapons, which Odysseus wins against Aias, but in the 23rd book there is a wrestling match between the two, which surprisingly ends in a draw, with advantages for Odysseus. Furthermore, both take part in the delegation to Achilles.

Patroclus

Patroclus is not only Achilles' friend, but also his charioteer. The grandson of the actor and son of Menoitius comes from the Locrian opus, where as a child he accidentally killed a son of Amphidamas . Fearing punishment, he fled to Peleus and was accepted there as Achilles' older foster brother - later authors saw Patroclus as a nephew, uncle or cousin Achilles. His father Menoitius finally sent him from Phthia to Agamemnon as support.

Phoinix

Phoinix fled the parental home of his father Amyntor and grandfather Ormenos in Hellas to Achilles' father Peleus in Phthia. There he became Achilles 'tutor and ruler of the Doloper, in the Iliad he is Achilles' advisor and sub-leader of the Myrmidons.

Trojans

Aeneas
In this picture, the wounded Aeneas is raptured from battle by Aphrodite. The picture showed an Etruscan , black-figure amphora dating from around 480 BC. u. Z. and is exhibited today in the antique collection of the Martin von Wagner Museum in Würzburg.

Aeneas appearances in the Iliad have no effect on the plot, whereby he is saved twice from the events by the gods. That is why it was assumed by Bröker, Reinhardt and Heitsch, among others, that the figure of Aeneas was subsequently added. He is related to Priam and leads with two of the Antenorids , Archelochus and Akamas , the Trojan contingent of the Danaer, but there are tensions between the king and Aeneas. His parents are Aphrodite, who also stands by him in the battles, and Anchises; He was raised by his brother-in-law Alkathoos.

Andromache
This picture shows the mourning for Hector's body. In the middle is his wife Andromache, who holds an urn of the corpse in her hands. To the right of her, Hector's brother Paris and their mother, Hecabe, can be identified. The sarcophagus that represents this scene and was made between 170 and 180 AD is in the Regional Archaeological Museum of Palermo .

Andromache had lost all relatives, including her father Eëtion, when Achilles conquered her hometown, the Trojan Thebes. In the same foray, Chyrseïs was also captured. With Hector she has Astyanax as a son, who is called by his father Skamandrios.

Antenor

Antenor is known in the Iliad as an old advisor. Among other things, he took up the former embassy to Odysseus and Menelaus in Ilios, which Helena wanted to bring back, and also mediated between the two warring parties in the Iliad. He is the father of several children whom he fathered with the Kiss daughter and Athenian priestess Theano . Of these, eleven are mentioned in the Iliad, six of which die in the course of the epic.

Deiphobos

Deiphobos is Hector's favorite brother and thus also Priam's son. Athena deceives Hector in his form, so that Hector dares to engage in a fatal duel with Achilles. Furthermore, Deïphobos is a sub-leader of the Trojan fighters.

Dolon

Dolon is the son of Eumedes. He is found as a scout by Diomedes and Odysseus on the way to the Achaean camp and lured into an ambush. There information is extorted from him and he is eventually killed.

Glaucoma

Glaukos is the son of Hippolochus and grandson of Bellerophontes , with whom Diomedes' grandfather was on friendly terms. Together with his cousin Sarpedon he is the leader of the Lycians.

Hecabe

Hecabe is the daughter of the Phrygian Dymos, she has 19 sons with her husband, King Priam of Troy. After Hector's death, she emphasizes his fearlessness, although he has just fled from Achilles.

Hector

Hector is believed to be the eldest son of Priam and Hekabes. He is not only the leader of the Trojans, their strongest fighter and a noble loser, but also a carpenter. His views on the success of the city's defense vary widely in the Iliad.

Helenos

Helenos is one of the sons of Priam and is a sub-leader of the Trojan fighters. His main function is that of the Achaean Kalchas: He is the best bird interpreter and seer of his war party.

Pandaros

Pandaros , the son of Lycaon, is the leader of the fighters from Zeleia and an archer. Athena leads him to attack Menelaus during a non-aggression pact.

Paris

As the son of Priam and Hecabe, Paris is, among other things, Hector's brother. He is mentioned more often than Paris in the Iliad Alexandros - eleven against 42 documents. The so-called Paris ruling , which led to the outbreak of the dispute, is only mentioned indirectly.

Polydamas

This fighter and counselor is a son of the Panthoos and a member of the council of elders. He was born the same night as his companion Hector.

Priam

Priam , the aged son of Laomedon and descendant of Dardanos, is the king of Troy. According to the Iliad, he is the father of twelve daughters and 50 sons, including Hector, Paris, Deïphobos and Helenos. Nevertheless, only 22 sons and three daughters are named, eleven sons of whom die in the course of the 51 days; two had died earlier.

Sarpedon

Sarpedon , Ilios' best ally, comes from Lycia and looks after the Lycian fighters with his cousin Glaukos . Furthermore, he is the son of Bellerophontes daughter Laodameia and Zeus, who wants to save him from death by Patroclus, but is prevented from doing so by Hera. The motif of the dying Sarpedon and his rapture were often depicted in art up to the 19th century.

Involved

Briseïs
Achilles and Briseïs, with Patroclus in between.
Fresco from Pompeii, 1st century AD

Briseïs was captured by Achilles in Lyrnessos with Chryseïs. During the conquest of Lyrnessos, the three Briseis brothers were killed, and she herself was awarded to Achilles as a slave and concubine. The general Agamemnon took the Briseïs away from Achilles when he had to give his own slave, Chryseïs, back to her father because of an oracle and to avert further arrows of Apollo. Thereupon Achilles withdrew from the battle for Troy ( Wrath of Achilles ). Since this meant a decisive weakening of the Greeks, Agamemnon returned Briseis, along with seven other women and an oath not to have slept with her.

Chryses and Chryseïs
Chryses asks Agamemnon to release his daughter Chryseïs for a ransom, which the latter refuses. Apulian red-figure volute crater , approx. 360-350 BC BC, Louvre

Chryses and Chryseïs , both from Chryse , are only mentioned in the first book of the Iliad, although their dishonor and the subsequent plague and army assembly actually represent the causes of the dispute between Agamemnon and Achilles. Friedrich Eichhorn argues that the supplication from Priam in the 24th book of the Iliad, like that of Chryses, is initially rejected, and sees in it a reference between the first and the last book. It is also noticeable that Chryseïs is captured by Agamemnon not in her homeland, but in the Trojan Thebes - a reason for the stay is not given - but so that Chryses can offer ransom for his daughter and disdain Agamemnon, the city must still be wealthy and be present for the later victim. In Greek vase painting , the Chyrseïsepisode is only shown on an Apulian crater , which was created between 370 and 360 BC.

Helena

Only the 24th book of the Iliad reports on the robbery of Helen and the Paris judgment . It is related to her prehistory that she is a daughter of Zeus and sister of Castor and Polydeukes . It is well known that she is also to blame for the Trojan war, but because of her beauty this is tolerated - Priam does not see the guilt in her, but in the gods. The outcome of the duel between Menelaus, with whom she fathered a daughter, and Paris (with whom she is now supposed to be in a relationship) interests her just as little as the conquest of Ilios. Still, she prefers a strong man and then rebukes Paris. After all, she is the last to bring a lawsuit against Hector's corpse, and the Iliad ends shortly thereafter. The interpretation of Homer Iliad 24,762–766 in the Helena tells that she has been in Ilios for 20 years - the siege of the city is in its tenth year is controversial .

Heracles

Heracles is mentioned in the Iliad once as the son of Amphitryon, otherwise as the son of Zeus and the Theban Alcmene  - this led to the typical jealousy of Zeus' wife Hera. His services to Eurystheus are also mentioned. Heracles' son Tlepolemus praises his father, who once fought against the Trojan king Laomedon and destroyed Ilios and is not afraid to attack gods too. Like Herakles' grandsons Antiphos and Pheidippidos, he fights in front of Ilios. Heracles, however, is already dead at the time of the Iliad.

Gods

Aphrodite

In the Iliad, Aphrodite is the beautiful daughter of Zeus and Dione . In the Iliad she appears only as the goddess of love, not as love personified. She supports her son Aeneas as well as Paris in battle. She has a good relationship with her brother, in the later mythology half-brother Ares, her husband is Hephaestus. The Paris Judgment is mentioned in the 24th book of the Iliad, but that Aphrodite ultimately promised Paris Helena is not mentioned.

This pencil drawing shows Apollo playing the lyre on Olympus. It was made by Stanisław Wyspiański around 1897 and is located in the National Museum in Warsaw .
Apollo

Apollo , the son of Zeus and Leto and brother of Artemis, fights on the side of the Trojans and can kill Patroclus, for example, even though he was betrayed by the Trojans when they built their wall. He may be identical to the sun god Helios , but as "Paieon" he has an activity as the god of healing. According to the Iliad, he was venerated in Chryse and its surroundings, Pergamon and Delphi, and the Paian is danced in his honor .

Ares

Although Ares (also called Enyalios in the Iliad) is metonymically the personified war, he can still be painfully wounded or tied up as a person. And although two of his sons fight on the Greek side, the son of Hera and Zeus fights on the Trojan side, but causes revulsion in his father.

Artemis

Artemis represents the functions of a huntress, mistress of animals and goddess of death, but also has healing abilities. Zeus' daughter also fights with her brother Apollon and her mother Leto on the Trojan side.

Athena

Athena is the goddess of wisdom, strategy and struggle. Pallas Athene stands for intelligent war tactics and is far superior to the competitors for Aphrodite and Ares. Due to the Paris judgment , she allies herself with Hera against Aphrodite and supports the Achaeans in the fight against the Trojans, in which she is actually the city goddess.

Demeter

Demeter does not appear in the Iliad as the goddess of fertility and grain and is only mentioned once by Zeus as one of his wives. As an epithet to “grain”, it symbolizes the food “bread”.

Dionysus

Dionysus , the son of Semele, does not act actively in the Iliad. It is only mentioned by him that he had to hide with Thetis for fear of a strong Lycurgus.

Eileithyia

In the Iliad, Eileithyia is the daughter of Heras and the goddess of childbirth; she mainly appears in comparisons.

Enyo

Enyo is the goddess of war and her namesake Enyalios (= Ares) has equal rights, she is compared to Athene and compared to Aphrodite.

Erinyes

Erinyen are goddesses of the underworld and punish perjury . They stop the prophecy of the horse Xanthos that Achilles will soon die, and disputes over families.

Hades

The Psychai are sent after death to Hades , the “subterranean Zeus”. He shares influence over the world with his brothers Zeus and Poseidon, who, however, have the possibility of devastating his territory with their powers.

Hephaestus

As the god of fire, Hephaestus , the son of Hera and Zeus not only represents fire metonymically , but is also a person who acts on the Greek side in addition to his function as a fire maker, blacksmith and craftsman - but there are also priests of Hephaestus on the Trojan side. With his limping, panting behavior, however, he triggers laughter from the gods, but his parents have already punished him. In the Iliad, Charis is his wife, in the Odyssey, however, Demodokos describes Aphrodite as this one.

Hera

Born as the daughter of Kronos, Hera was the most worthy goddess both according to her sex and as the eldest sister and wife of Zeus, with whom she often quarrels about the course of the Trojan War. Presumably because of the Paris judgment , she allies herself with Athene against the Trojans (her favorite Greek cities are Argos, Sparta and Mycenae) and fights them actively, but often passively. In addition, her beauty even distracts Zeus from war.

Hermes

Hermes , whose parentage is not mentioned in either the Iliad or the Odyssey, is among other things a companion on Priam's path to Achilles. His function as messenger of the gods in the Odyssey is taken over by Iris in the Iliad. He fights on the Greek side and fathered a strong warrior with a Greek woman, but he is also favored by Trojans.

Hypnos

So that Poseidon can support the Archaeans, Hera asks Sleep Hypnos for support. This is supposed to put Zeus to sleep while she distracts him with an erotic belt. In return, he receives the Charis Pasithea to wife. Later he and his biological brother Thanatos received the order to carry Sarpedon's body to Lycia.

Iapetos

The Titan Iapetus lives like his brother Kronos in the underworld.

iris

In addition to her work as a swift and golden-winged messenger of the gods, she directs Aphrodite's team.

Kronos

Kronos , the father of Hades, Hera, Poseidon and Zeus, is at the time of the Iliad story surrounded by the underworld gods in Tartarus , where Zeus had banished him.

Leto

Leto , the worried mother of Artemis and Apollon, fights together with her children on the Trojan side and, among other things, heals Aeneas.

Muses

The Muses , daughters of Zeus, know everything and pass their information to the epic singer. To do this, he calls her, but if one does not do this, he will be punished like the singer Thamyris. They can also sing with the gods.

Oceanus

The sea god Okeanos is one of the first deities in the Iliad, together with his wife Tethys. This is not the case with Hesiod and also with later authors. All the rivers of which he is the father come to gatherings on Olympus, but Oceanus himself does not.

Paieon

It is unclear whether the healing god Paieon , who alleviates Ares 'and Hades' wounds in the Iliad, is identical with Apollo, since he sings his Paian and is identical in name to Paieon in the Iliad. According to Homeric, Paieon is an epithet of Apollo.

Persephoneia

The underworld goddess, mainly called " Persephone " in post-Homeric, appears in the Iliad exclusively in the long form "Persephoneia". In this epic she appears exclusively with her husband Hades and is only characterized in more detail in the Odyssey.

Poseidon

Poseidon , brother of Zeus, received dominion over the sea when the world was divided. He hates Troy because Laomedon, whom he built with Apollon Ilios' wall, deprived of the wages of his work, and therefore helps the Greeks. The god of the sea, who is also the lord of the horses, shakes the earth with his tremendous power, which is why he is named with several epithets for earth shakers. According to the Iliad, Poseidon is worshiped in Helike , Aigai and Pylos .

Scamandros / Xanthos

The son of Oceanus is called Xanthos by the gods, but Scamandros by mortals. He is venerated in Ilios.

In this pencil drawing from around 1897, Thetis comforts her son Achilles. It was made by Stanisław Wyspiański and is in the National Museum in Warsaw .
Thetis

Achilles' mother Thetis is with her sisters, the Nereids, a lesser sea goddess, but is honored by the Olympian gods. Furthermore, she mediates the concerns between Achilles and Zeus. She knows the different future possibilities of her son and prophesies them to him.

Tethys

Tethys , together with her husband Okeanos, is considered the origin of the gods, unlike Hesiod.

Zeus grants Thetis Achilles' wish to support the Trojans until the Achaeans honor him again. The pencil drawing made by Stanisław Wyspiański around 1897 is privately owned.
Zeus

Zeus rather supports the Trojans and thus stands in the way of the unfounded plans of his wife Hera. He gives in to his wife only when Hera has agreed that he will also be allowed to destroy some of Hera's favorite cities -  Argos , Sparta and Mycenae (which had already been destroyed when the text was written). In contrast to the other gods, the weather and rain god does not appear on the battlefield. He is also the oath god trusted by the warring parties, but decides to break the oath by the Trojans. In research it is therefore disputed whether Zeus is a guardian of law or not. Only a few myths are told in the Iliad - one of them is that of the descent of Zeus: Hera is one of his sisters, Poseidon and Hades are among his brothers, with whom he shares dominion over the world, his father Kronos lives in the underworld . He has been involved in riots twice. He is by far the most powerful god - for example, he installs the kings in their posts - although his plan is ultimately fulfilled, despite brief interruptions by Thetis and Hera. He has many mortal (e.g. Helena, Heracles, Dardanos and Sarpedon) and immortal children (e.g. Aphrodite, Apollon, Ares, Artemis, Athene, Hephaestus, Hermes and Skamandros). In the Iliad is reported that he cultic in Dodona and on the Ida is revered - his sacred tree here is the book - and protecting God is the heralds and guests.

Struggles

This double image in the Biblioteca Ambrosiana in Milan shows a typical battle scene from the Iliad of the Codex F. 205 Inf. It was made between 493 and 508 in Constantinople.

Armament

Offensive

The number of assault weapons in the Iliad is large, the size fluctuating greatly. In addition to the double-edged part Sword (ἄορ [AOR], ξίφος [xípʰos] or φάσγανον [pʰásganon]) that rather than blow - because as a stabbing weapon (so difficult in fighting on horseback to use), sometimes in a metal rail , the Belt or on the shoulder is used, normal spears (δόρυ [dóru], ἐγχείη [enkʰeíe] or ἔγχος [énkʰos], λόγχη [lónkʰe] "spearhead" or ξυστόν [xustón] "spear shaft") are often used. Some of these can be made of ash wood , are packaged or can be carried with one hand. Furthermore, they can represent a warrior personified. Rare be lobes (κορύνη [korúnē]) and axes ( ἀξίνη [axínē]) was used. The dagger (μάχαιρα [mákʰaira]) is not used for fighting. In addition to throwing spears (ἀκόντιον [akóntion] or ἄκων [ákōn]), slingshots (σφενδόνη [spʰendónē]) and stones (λίθος [lítʰos], πέρος [lítʰos], πέρος [lítʰos], πέτροδς [pνétros] , except in Homer: Iliad 20,288, for the decision - especially the bow (βιός [biós] or τόξον [tóxon]).

This picture shows a boar tooth helmet from the Heraklion Archaeological Museum .
Defensive

Almost the whole body can be protected by defensive weapons. The head can be a helmet (κυνέη [kunéē], κόρυς [kórus], πήληξ [pēlēx] or τρυφάλεια [trupʰáleia]) - partly made of leather or bronze - with a helmet plume and temple, as well as chin straps, forehead, cheek or temple protection cover. Chest or back armor (γύαλα [gúala], θώρηξ [tʰōrēx] or χιτών [kʰitōn]) are used for the upper body, greaves (κνημίς [knēmís]) and various types of shields: ἀσπίς [aspalen round Shield, λαισήϊον [laisēïon], a leather shield, or σάκος [sákos], an angular, almost head-high shield.

Chariot

In the chariot there is a maximum of one driver and one fighter who dismounts to carry out his work - this is already documented for the 13th century BC. The cart is usually pulled by two horses. The teams of Nestor, Patroclus and Hector have three horses, and the latter four horses.

Description of the battles

The kind of portrayal of the battle varies greatly: from the very strict style, in which only perpetrators and victims are named, to the strict style, the biotic, lower and pseudo-realism, in which (intentionally) hideous details are presented, to the fantastic and improbable, bloody descriptions. The warriors can also act in battle lines ( phalanges ). It is noticeable that injuries are either minor or fatal. It was difficult for the author to portray Achilles' superiority over the other Greek attacks, as the portrayal of the styles is limited to those mentioned above. Achilles therefore fights first apparently alone against the Trojans, then with two river gods, whereupon even the gods begin to fight one another again.

psychology

General

In the Iliad, as in any other early Greek epic, there is no equivalent for our term “ soul ”. Similar features are denoted by the words ἦτορ [ētor], θυμός [tʰumós], καρδίη [kardíē], κῆρ [kēr], νόος [nóos], μένος [ménos], πραπίδες [prapídes] [.φrήnν] and.

psyche

In the Iliad, psyche does not mean what we understand by it today, but rather "life (battery)" or "carrier of life". When the person dies, this abstraction leaves his body and continues to exist as the only surviving part in the environment or in Hades . It retains the character traits of the person formerly living and can only after a cremation of the body continue to live in Hades. It is therefore not responsible for thinking or acting.

Thymos

Thymos is the most frequently occupied, with around 2000 text references with soul words, with 878 text passages, in later times it occurs less often. In doing so, it fulfills the function of “spiritual energy”, which enables the person to act and drives them either temporarily or permanently, and when dying is dispersed in the world. The thymos not only represents the place of feeling, knowing and wanting - whereby it combines these three impulses - but also the "I" to which the hero can speak.

Noos

Like the thymos, the noos or nous is an organ for feeling, knowing and willing. However, like the thymos, it is not aimed at partially positive or negative aspects, but correctly recognizes the person or the object as a whole. The noos can thus compete with or control the thymos within the body. This gives people several options for assessing the situation, as Achilles aptly attests in the ninth book of the Iliad, who does not want to listen to the noos but rather the thymos, and thus follows his anger here.

Phren

The Phren goes into intellectual content and ideas, he determines the action and disposition of the person in a reasonable way.

literature

Critical Editions
Translations

The most widespread and most persistent translation comes from Johann Heinrich Voss in 1793. Although it no longer meets the current state of research and the demands of a modern readership, this translation is an influential achievement in the series of translations of the work represent.

Wolfgang Schadewaldt's translation of the Iliad from 1975 is highly valued in specialist circles . It is written in free verse (or rhythmic prose) and is considered to be the most faithful translation of the original into German.

In addition to these, numerous other translations were created, for example

Retelling

Since the translations are only understandable if the reader is familiar with Greek mythology and history, there were various retellings early on that tell the story in a generally understandable way:

Comments
  • Homerus, Iliad . Declared for school use by Karl Friedrich Ameis. Edited by Carl Hentze. Leipzig 1905–1932.
  • The Iliad: A Commentary . General edited Geoffrey Stephen Kirk. (6 volumes) Cambridge 1985-1993 ISBN 978-0-521-31209-7
  • Homer's Iliad: Overall Commentary . On the basis of the edition by Ameis-Hentze-Cauer (1868–1913) ed. by Joachim Latacz . Munich / Leipzig 2000 ff., ISBN 978-3-598-74302-3 (previously published: Prolegomena and two volumes in four sub-volumes; background information ( Memento from May 15, 2008 in the Internet Archive ))
Specialist literature
  • Robert Fowler (Ed.): The Cambridge Companion to Homer . Cambridge 2004, ISBN 978-0-521-01246-1 books.google.de
    • Richard Hunter : Homer and Greek literature . In: Robert Fowler (Ed.): The Cambridge Companion to Homer . Cambridge 2004, pp. 235-253.
    • Joseph Farrell : Roman Homer . In: Robert Fowler (Ed.): The Cambridge Companion to Homer . Cambridge 2004, pp. 254-271.
    • Timothy Webb : Homer and the Romantics . In: Robert Fowler (Ed.): The Cambridge Companion to Homer . Cambridge 2004, pp. 287-310.
    • James I. Porter : Homer: the history of an idea . In: Robert Fowler (Ed.): The Cambridge Companion to Homer . Cambridge 2004, pp. 324-343.
    • Lorna Hardwick : 'Shards and suckers': contemporary receptions of Homer . In: Robert Fowler (Ed.): The Cambridge Companion to Homer . Cambridge 2004, pp. 344-362.
  • Wolfgang Kullmann : Homeric motifs (ed. Roland J. Müller ). Stuttgart 1992, ISBN 978-3-515-06206-0
    • Wolfgang Kullmann: A pre-Homeric motif in the Iliasproömium . In: Philologus , Berlin 1955, pp. 167–192 (= Wolfgang Kullmann: Homerische Motive (edited by Roland J. Müller), Stuttgart 1992, pp. 11–36).
    • Wolfgang Kullmann: To the Διὸς βουλή [Diòs boulē] of the Ilias Proömiums . In: Philologus , Volume 100, Berlin 1956, pp. 132-133 (= Wolfgang Kullmann: Homerische Motive (edited by Roland J. Müller), Stuttgart 1992, pp. 36-37).
    • Wolfgang Kullmann: The rehearsal of the Achaean army in the Iliad . In: Museum Helveticum , Volume 12, Basel 1955, pp. 253-273 (= Wolfgang Kullmann: Homerische Motive (edited by Roland J. Müller), Stuttgart 1992, pp. 38-63).
    • Wolfgang Kullmann: The daughters of Agamemnons in the Iliad . In: Gymnasium , Volume 72, Heidelberg 1965, pp. 200-203 (= Wolfgang Kullmann, Homerische Motive (edited by Roland J. Müller), Stuttgart 1992, pp. 64-66).
    • Wolfgang Kullmann: Past and Future in the Iliad . In: Poetica , Volume 2, Munich 1968, pp. 15–37 (= Wolfgang Kullmann: Homerische Motive (ed. By Roland J. Müller), Stuttgart 1992, pp. 219–242).
    • Wolfgang Kullmann: Gods and Men in the 'Iliad' and the 'Odyssey' . In: Harvard Studies in Classical Philology , Volume 89, Harvard 1985, pp. 1-23 (= Wolfgang Kullmann: Homerische Motive (edited by Roland J. Müller), Stuttgart 1992, pp. 243-263).
    • Wolfgang Kullmann: Interpretation and meaning of the gods in Euripides . In: Sebastian Posch , Erich Thummer , Karlheinz Töchterle (eds.): Innsbruck 1987 , pp. 7–22 (= Wolfgang Kullmann: Homerische Motive (ed. By Roland J. Müller), Stuttgart 1992, pp. 319–338) .
    • Wolfgang Kullmann: Some remarks on the Homer image of the Middle Ages . In: Michael Borgolte , Herrad Spilling (Ed.): Litterae medii aevi. Festschrift for Johanne Autenrieth . Sigmaringen 1988, pp. 1-15 (= Wolfgang Kullmann: Homerische Motive (ed. By Roland J. Müller), Stuttgart 1992, pp. 353-372).
    • Wolfgang Kullmann: Friedrich Gottlieb Welcker on Homer and the epic Kyklos . In: William Musgrave Calder III , Adolf Köhnken , Wolfgang Kullmann, Günther Pflug (eds.): Friedrich Gottlob Welcker. Work and effect . Stuttgart 1986, pp. 105-130 (= Wolfgang Kullmann: Homerische Motive (ed. By Roland J. Müller), Stuttgart 1992, pp. 373-399).
  • Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, ISBN 3-598-74300-9
    • Joachim Latacz: On the Homer comment. From the beginning to this comment . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000a, pp. 1–26.
    • Martin Litchfield West : History of the Text . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, pp. 27-38.
    • Joachim Latacz: Formula and orality . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000b, pp. 39-59.
    • Rudolf Wachter : Grammar of the Homeric Language . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, pp. 61-108.
    • René Nünlist : Homeric Metric . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, pp. 109-114.
    • Fritz Graf : On the inventory of figures in the Iliad: Gods . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, pp. 115-132.
    • Magdalene Stoevesandt : On the inventory of figures in the Iliad: people . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, pp. 133-143.
    • Joachim Latacz: On the structure of the Iliad . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000c, pp. 145–157.
    • René Nünlist, Irene JF de Jong : Homeric poetics in key words . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment . Prolegomena, Munich / Leipzig 2000, pp. 159-171.
  • Joachim Latacz, Thierry Greub , Peter Blome , Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, ISBN 978-3-7774-3965-5
    • Joachim Latacz: Why Homer? In: Joachim Latacz, Thierry Greub , Peter Blome , Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 15-17.
    • Peter Jablonka : The scene of the Iliad: Troy . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 81-89.
    • Sigrid Deger-Jalkotzy : The pre-Homeric epic - clues and probabilities . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 99-105.
    • Stefan Hagel : The singers from a music-archaeological perspective . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 106–111.
    • Ernst-Richard Schwinge : The large structure of the epics . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 151–156.
    • Irene JF de Jong: Homer's Storytelling . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 157–163.
    • Arbogast Schmitt : God and man in Homer . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 164–170.
    • Martin Litchfield West: History of Lore . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 182–194.
    • Peter Blome: The Reception of Homeric Poetry in Greek Visual Art . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 196-207.
    • Anton Bierl : The Reception of Homeric Poetry in Greek Literature . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 208-214.
    • Hellmut Flashar : The reception of Homer by the philosophers . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 215-220.
    • Henriette Harich-Schwarzbauer : Homer in Roman literature . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 245-250.
    • Carolina Cupane : The Homer Reception in Byzantium . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 251-258.
    • Thierry Greub: Proximity and Distance to Homer: The Artistic Reception of Homer in Modern Times . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 265-275.
    • Bernd Seidensticker : Homer's literary reception in modern times . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 276–282.
    • Martin M. Winkler : Tell me, Muse, the father of mass culture: Homer in commerce and cinema . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, pp. 283–289.
  • Ian Morris , Barry Powell (Eds.): A new companion to Homer . Leiden 1997, ISBN 90-04-09989-1
    • Robert Lamberton : Homer in Antiquity . In: Ian Morris, Barry Powell (Eds.): A new companion to Homer . Leiden 1997, pp. 33-54.
    • Ralph M. Rosen : Homer and Hesiod . In: Ian Morris, Barry Powell (Eds.): A new companion to Homer . Leiden 1997, pp. 463-488.
    • Jenny Strauss Clay : The Homeric Hymns . In: Ian Morris, Barry Powell (Eds.): A new companion to Homer . Leiden 1997, pp. 489-507.
    • Anthony Snodgrass : Homer and Greek Art . In: Ian Morris, Barry Powell (Eds.): A new companion to Homer . Leiden 1997, pp. 560-597
Other important specialist literature

Web links

Portal: Greek Antiquity  - Overview of Wikipedia content on the topic of Greek Antiquity
Commons : Iliad  - collection of images, videos and audio files
Wikisource: ΙΛΙΑΣ  - Greek, original text

Individual evidence

Passages , quoted from Wolfgang Schadewaldt's translation of the Iliad.

  1. Iliad 9.696 to 711.
  2. Ilias 19.74 to 75.
  3. Iliad 2,768-773.
  4. Ilias 1.334 to 336; 9,196-204; 11,599; 21,100-102.
  5. Iliad 1,1; 1.348-361; 1.413; 21,182-189.
  6. Iliad 1,148-171; 1.179-180; 2.681-694.
  7. Iliad 19, 326-327.
  8. Ilias 1.22 to 25.
  9. Iliad 2: 204-206.
  10. Iliad 4,356-363.
  11. Iliad 1: 24-32; 2.207-208; 2.569-580; 9.149-156.
  12. Iliad 1.7; 2.105.
  13. Iliad 9.141 to 148.
  14. Iliad 2.768 to 770.
  15. Iliad 2,527-529; 2.557-558.
  16. Iliad 2,527-535; 13,694-697.
  17. The author even goes so far as to name him the best of the Achaeans, cf. Iliad 5,414-415.
  18. Iliad 23,811-825.
  19. Iliad 6,119-236.
  20. Iliad 5,410-415; 14.109-132.
  21. Iliad 2,559-568.
  22. Iliad 13.445-454.
  23. Iliad 2.645 to 653.
  24. Iliad 1.68-101; 2.299-300.
  25. Iliad 4.188 to 219.
  26. Iliad 3.86-94.
  27. Iliad 2,581-590.
  28. Iliad 7: 92-122.
  29. Iliad 17.540-667.
  30. Iliad 7: 161-168; 8,253-267; 9.80-84; with 10.53-59; 13,249; 267-273.
  31. Iliad 1.247 to 284.
  32. Iliad 11.690-691.
  33. Iliad 11.690-693.
  34. Iliad 9.103 to 105.
  35. Iliad 1.260 to 261.
  36. Iliad 5.302-304.
  37. Iliad 2: 20-21; 2.591-602; 9.80-84; 15,569-570; 23.301-305.
  38. Iliad 2,631-637; 3.199-202; 11,428-433.
  39. Iliad 2,172-173; 2,257-264; 11,333-335; 11,396-400.
  40. Iliad 23.708-739.
  41. Iliad See Book Nine .
  42. Iliad 17.426-428; 17.474-478.
  43. Iliad 11,785; 18,316-327.
  44. Ilias 23.82 to 87.
  45. Iliad 11.762-791.
  46. Iliad 9: 432-622; 16.193-197.
  47. Iliad 5,311-318; 5,443-436; 20.330-352.
  48. Iliad 2,819-821; 13,458-461; 20.215-240.
  49. Iliad 2,819-821; 5,311-318; 13,463-467.
  50. Iliad 6,390-428.
  51. Iliad 6,399-403.
  52. Iliad 3: 146-153.
  53. Iliad 3,203-224; 7.347-353.
  54. Iliad 6,297-299; 11,221-224.
  55. Iliad 22: 232-237.
  56. Iliad 22.224-305.
  57. Iliad 12.80-97.
  58. Iliad 10.313-468.
  59. Iliad 2,876-877; 6,144-236.
  60. Iliad 16,715-719; 24,496-497.
  61. Iliad 24.200-217.
  62. Iliad 2,816-818; 6.402-403. 6.448-461; 20.239-240.
  63. Iliad 6,312-314.
  64. Iliad 7: 44-54; 12.80-97.
  65. Iliad 6.73-102.
  66. Iliad 2,824-827; 4.73-147.
  67. Iliad 3:15-20; 3.324-325.
  68. Iliad 24: 25-30.
  69. Iliad 3: 146-153; 11.56-60; 12.60-90; 12,210-257; 13,754-757.
  70. Iliad 18: 249-252.
  71. Iliad 20: 215-240; 24,543-546.
  72. Iliad 6,242-250.
  73. Iliad 2,876-877; 12.101-104.
  74. Iliad 6,196-199; 16,419-551.
  75. Iliad Book Sixteen .
  76. Iliad Book Five .
  77. Iliad 19: 56-62; especially εἵνεκα κούρης [heíneka koúrēs] "because of a girl".
  78. Iliad 1.366 to 369.
  79. Iliad 1.430 to 479.
  80. Iliad 24: 24-30.
  81. Iliad 3,199,237-238.
  82. Iliad 2,158-162; 3.156-158; 3.164-165.
  83. Iliad 3: 171-175.
  84. Iliad 3, 428-436; 6.349-358.
  85. Iliad 24.762-775.
  86. Iliad 5.392.
  87. Iliad 5,396; 14.323-324; 15.24-30.
  88. Iliad 8,362-363; 15,638-640; 19.130-134.
  89. Iliad 5.628 to 646.
  90. Iliad 5,392-397; 5,628-642; 14,250-251; 20,144-148.
  91. Iliad 2,653-670; 2.676-680.
  92. Iliad 18.117-119.
  93. Iliad 5,370-371; 5.426-428; 9.388-391.
  94. E.g. Iliad 5,426-429.
  95. E.g. Iliad 2,819-823.
  96. Iliad 3, 373-382; 5.311-318.
  97. Iliad 21.428-431.
  98. Iliad 24: 24-30.
  99. Iliad 1, 8-16.
  100. Iliad 16.787-806.
  101. Iliad 21.441-457.
  102. Iliad 5,401-402; 5,899-906.
  103. Iliad 1, 36-42; 5.445-446; 9.401-405.
  104. Iliad 1.469-475.
  105. E.g. Iliad 13,518-525.
  106. E.g. Iliad 5.31.
  107. Iliad 5.855 to 863.
  108. Iliad 5,385-391.
  109. Iliad 2,511-515.
  110. Iliad 5,829-834; 5,892-896.
  111. Iliad 5,888-898.
  112. Iliad 5: 49-52; 6.205; 6.425-428; 9.533-542; 21,470-471; 21,481-488.
  113. Iliad 5,444-448.
  114. Iliad 9.533 to 537.
  115. Iliad 20: 28-30.
  116. Iliad 1, 194-195; 1.208; 4,439; 5,711-719; 20.67-69.
  117. Iliad 6: 86-88; 6.269-270; 6,279; 6.302-311. But she is also the city goddess of Athens , cf. 5.546-549.
  118. Iliad 14.312-328.
  119. Iliad 13,321-323; 21.73-79.
  120. Iliad 14.323-325.
  121. Iliad 6: 130-138.
  122. Iliad 11: 269-272.
  123. Iliad 16, 187-190; 19.103-105.
  124. Iliad 5,330-333; 5.590-595.
  125. Iliad 9.571 to 572.
  126. Iliad 19,258-260.
  127. Iliad 19.404-418.
  128. Iliad 9: 438-456; 9.565-572; 21.408-414.
  129. Iliad 9.456 to 457.
  130. Iliad 15.187-193.
  131. Iliad 20: 56-65.
  132. Iliad 1.571 to 579.
  133. Iliad 2,425-426.
  134. Iliad 21,342.
  135. Ilias 1.605 to 608; 2,100-103; 8.191-195; 14,166-168; 14.238-240; 15.306-310; 18,369-617; 20.10-12.
  136. Iliad 20: 31-37; 20.73-74; 21,328-384.
  137. Iliad 5: 9-11; 5.17-24.
  138. Iliad 1.596 to 600.
  139. Iliad 1,589-594; 18,393-405.
  140. Iliad 18,382-383.
  141. Iliad 5.720 to 721.
  142. Iliad 4: 59-61.
  143. Iliad 1,518-521; 1.536-570; 4.1-38.
  144. Iliad 4: 51-52.
  145. Ilias 1.55 to 56.
  146. Iliad 1, 193-196; 1.206-209; 4.1-73; 5.784-792.
  147. Iliad 14,153-353; 15.1-100.
  148. Iliad 24, 331-471; 24,677-694.
  149. Iliad 20: 32-35.
  150. Iliad 16: 179-192.
  151. Iliad 14: 489-491.
  152. Iliad 14.354-357.
  153. Iliad 14: 230-241.
  154. Iliad 14,153-353; 15.1-100.
  155. Iliad 14: 267-279.
  156. Iliad 16.667-683.
  157. Iliad 8,477-481.
  158. Iliad 2,786-808; 11,185; 23,198-212; 24.77-88; 24,159-188.
  159. Iliad 5,353-354; 5.364-367.
  160. Iliad 8,477-481; 14.200-204; 14.271-275; 15.221-225.
  161. Iliad 20: 38-40; 21,497-504.
  162. Iliad 5,445-448.
  163. Iliad 2.484-493.
  164. Iliad 2,591-600.
  165. a b Iliad 14,200-204; 14.301-303.
  166. Iliad 21: 192-197.
  167. Iliad 20: 4-9.
  168. Iliad 5,395-402; 5,899-904.
  169. Iliad 1.474 to 474.
  170. Iliad 9,456-457; 9.568-571.
  171. Iliad 15: 184-199.
  172. Iliad 24: 25-28.
  173. Iliad 5,445-453; 21,441-457.
  174. For his Aristie cf. Iliad 13.10; to 15,219.
  175. Iliad 23, 276-278; 23,306-308; 23,581-585.
  176. Iliad 20: 56-65.
  177. Iliad 8,200-204; 11.722-729; 13.18-22.
  178. Iliad 20: 73-74.
  179. Iliad 5: 76-78.
  180. Iliad 18: 35-53; see " Catalogs ".
  181. Iliad 1.357 to 361.
  182. Iliad 18.396-409.
  183. Iliad 1,348-430; 1.493-533; 24.65-142.
  184. Iliad 9.410-416.
  185. Iliad 4.44-49.
  186. Iliad 4, 39-43; 4.51-536.
  187. Iliad 3,276-280; 3.298-302; 19.257-266.
  188. E.g. Iliad 3,107; 4.158-168.
  189. Iliad 4.64-72.
  190. Iliad 16,385-388; 24,351-352.
  191. Iliad 5,721.
  192. Iliad 15: 187-188.
  193. Iliad 8,477-481; 15.225.
  194. Iliad 1, 396-406; 1.590-594.
  195. Iliad 1,589-594; 2.116-118; 8.1-29; 8,210-211; 9.23-25; 15: 16-33; 15.106-108; 20,242-243.
  196. Iliad 2,196-197; 2.204-206.
  197. From Iliad 1,517-530.
  198. Iliad 14,292; to 15.79.
  199. ^ Iliad 1.5.
  200. Iliad 16: 228-238; 22.167-172.
  201. Iliad 5.692 to 695.
  202. Iliad 1,344; 14,622-625.
  203. Iliad 5.655.
  204. Iliad 19.387.
  205. Iliad 3:18; through Paris.
  206. Iliad 11: 41-45; 21.164-168.
  207. Iliad 4: 105-111.
  208. Iliad 11: 19-28.
  209. Iliad 13,803-807; 18,483-608.
  210. Iliad 8.80-117; 16,466-475; and 8.184-185, respectively.
  211. E.g. Iliad 5: 43-47.
  212. Iliad 4,457-505; 4,517-538; 13,170-176.
  213. Iliad 11: 250-253; with 8.327-334; and 13,593-595; 11,487-488; at 13.533-539; 14,433-439.
  214. Iliad 5,305-308; with 8.81-84; and 13,567-569 and 16,313-316; 5.65-68 with 16.567-575; 16,597-600; 11.143-148 with 13.201-205 and 17.125-126 and 18.175-177; 18,333-337.
  215. Iliad 4,408-423; 4.457-472; 13,545-549; 16,313-316; 20,463-483; 23.870-881.
  216. Iliad 5: 290-296; 5.305-310; 5.576-589; 10,454; 11.90-98; 12,182-186; 13,442-444; 13,576-580; 13,610-619; 14,465-468; 14,489-500; 16,335-341; 16.401-410; 16,516-526; 16,733-743; 20,395-400; 21.180-183.
  217. Iliad 16: 210-211.
  218. Iliad 11: 388-392.
  219. E.g. Patroclus' psyche in Iliad 23: 65-101.
  220. ^ Iliad 23:71.
  221. Iliad 4,470.
  222. Iliad 11.401-413.
  223. Iliad 9.643 to 648.
Further primary literature
  1. Its later appearance in the Trojan War is presented in Sophocles ' Philoctetes , among others .
  2. Cf. Isokrates or. Panathenaicus 81-82.
  3. Cf. Euripides Orestes , 23.
  4. Cf. Kyprien , fragment 14 (Bethe) and Sophocles Elektra , 153-163.
  5. Pindar Isthmien 6, 19-21.
  6. Cf. Homer: Oden 11,541-567 and Sophocles: Aiax
  7. See Pseudo- Hesiod Fragment 212 (a); Philocrates : FGrHist , 601 F 1. Pindar Oden 9, 69-70 (with pseudo-Hesiod fragment 205).
  8. Your story after the fall of Ilios is told in Euripides ' Hecabe .
  9. First in Homer's Odyssey 22: 440–445.
  10. Meaning unclear, in antiquity one suspected “child” because she is the daughter of Zeus, cf. Eustathios of Thessalonike : Commentarii ad Homeri Iliadem on Homer Iliad 1,200.
  11. Homer: Odyssey 8,261-366.
  12. a b . See Heraklit : VS , 22 fragment 12, 49a and 91 Plato: Theaitetos , 152e.
  13. Cf. Hesiod Fragment 307 (= Scholion ad Homer Odyssey 4,231).
  14. Cf. Homer: Odyssey 10 : 490–495; 10.508-510; 10,531-534; 10,563-565; 11.44-47; 11,213-214; 11,225-227; 11,385-388; 11.630-635.
  15. Xenophon Anabasis 2, 5, 33.
Further comments and literature, as well as internal references
  1. Biblioteca Ambrosiana ; Codex F. 205 Inf.
  2. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third episode No. 38, Göttingen 1956 p. 60.
  3. Cf. Friedrich Eichhorn: Homer's Iliad. Its general becoming under the hand of the poet and its final form . Horn 1971, pp. 44-45. 76.
  4. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, p. 28.
  5. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, p. 104.
  6. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 119-120.
  7. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 103-104.
  8. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 117-118.
  9. See Wolfgang Kullmann: The daughters of Agamemnons in the Iliad . In: Gymnasium, Volume 72, Heidelberg 1965, pp. 200-203 (= Kullmann (1992), pp. 64-66).
  10. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 147-148.
  11. Cf. Walter Bröcker: Theologie der Iliad. Frankfurt am Main 1975, pp. 58-60; on Tydeus cf. Magdalene Stoevesandt: On the inventory of figures in the Iliad: people . In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment. Prolegomena, Munich / Leipzig 2000, p. 139; for an overview of the Heraklestaten cf. Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 136-138.
  12. To delimit the area of ​​Agamemnon Edzard Visser : Homer's catalog of ships . Stuttgart / Leipzig 1997.
  13. For an overview cf. Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 158-159.
  14. See Wolfgang Kullmann: Past and Future in the Iliad . In: Poetica, Volume 2, Munich 1968, pp. 23-24 (= Kullmann (1992), pp. 228-229).
  15. cf. Dale S. Sinos : Achilles, Patroclus and the meaning of philos . Innsbruck 1980.
  16. Cf. Walter Bröcker: Theologie der Iliad. Frankfurt am Main 1975, pp. 56-58; Karl Reinhardt : The Iliad and its poet , (edited by Uvo Hölscher ), Göttingen 1961. Ernst Heitsch : Aphroditehymnos. Aeneas and Homer (Hypomnemata 15), Göttingen 1965. Ernst Heitsch: Epic artificial language and Homeric chronology . Heidelberg 1968. Ernst Heitsch: Old and new on the Iliad. Reflections on the genesis of the work . Stuttgart 2006, p. 25, note 37.
  17. On the problem of the designation of the Danaer see " Warring parties ".
  18. See Ioannis Kakridis . In: Gnomon , Volume 23, Munich 1960, p. 408. Albin Lesky: Homeros . In: Georg Wissowa (Hrsg.): Paulys Realencyclopädie der classischen antiquity . Supplement volume 11, Abragila to Zengisa. Munich 1968, pp. 770-771.
  19. See Wolfgang Kullmann: Past and Future in the Iliad . In: Poetica, Volume 2, Munich 1968, pp. 27-28 (= Kullmann (1992), pp. 232-233).
  20. See Ernst Heitsch: Old and New on the Iliad. Reflections on the genesis of the work . Stuttgart 2006, pp. 5-6; on the other hand Wolfgang Kullmann : The sources of the Iliad . Wiesbaden 1960, pp. 287–288, 297–301 and Wolfgang Kullmann : Homerische Motive (edited by Roland J. Müller ). Stuttgart 1992, pp. 177-178.
  21. See “ Book Twenty-Four ”; see. Friedrich Eichhorn: Homer's Iliad. Its general becoming under the hand of the poet and its final form. Horn 1971, p. 22.
  22. Cf. Peter Blome: The Reception of Homeric Poetry in Greek Visual Art . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, p. 196.
  23. Cf. Walter Bröcker: Theologie der Iliad. Frankfurt am Main 1975, pp. 52-53.
  24. On the other hand, cf. Euripides : Die Troerinnen
  25. See Albin Lesky: Homeros . In: Georg Wissowa (Hrsg.): Paulys Realencyclopädie der classischen antiquity . Supplement volume 11, Abragila to Zengisa. Munich 1968, p. 762.
  26. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, p. 21.
  27. Cf. Walter Bröcker: Theologie der Iliad. Frankfurt am Main 1975, pp. 33-34.
  28. See Hermann Fränkel: Poetry and Philosophy of Early Hellenism . 3. Edition. Munich 1976, pp. 66-67.
  29. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, p. 80.
  30. ^ Cf. Karl Reinhardt : The Paris judgment . In: Wissenschaft und Gegenwart , Volume 11. Frankfurt am Main 1938.
  31. Cf. Fritz Graf: To the figure inventory of the Iliad: Götter. In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment. Prolegomena, Munich / Leipzig 2000, p. 120.
  32. a b See “ Proömium ”.
  33. Cf. Fritz Graf: To the figure inventory of the Iliad: Götter. In: Joachim Latacz (Ed.): Homer's Iliad. Overall comment. Prolegomena, Munich / Leipzig 2000, p. 122.
  34. Cf. Walter Diehl: The literal relationships between Iliad and Odyssey. Greifswald 1938, p. 133.
  35. a b See “ Epithet ”.
  36. E.g. ἐννοσίγαιος [ennosígaios] and γαιήοχος [gaiēokʰos].
  37. See Arthur Bernard Cook : Zeus. A Study in Ancient Religion , II: Zeus of the Dark Sky (Thunder and Lightning) . Cambridge 1925.
  38. See Hermann Fränkel: Poetry and Philosophy of Early Hellenism . 3. Edition. Munich 1976, p. 80.
  39. Cf. Walter Bröcker: Theologie der Iliad. Frankfurt am Main 1975, pp. 30-31.
  40. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 182-184. Wolfgang Kullmann: A pre-Homeric motif in the Iliasproömium . In: Philologus , Berlin 1955, pp. 187-188 (= Kullmann (1992), pp. 30-31).
  41. For more of his deeds cf. Walter Bröcker: Theology of the Iliad. Frankfurt am Main 1975, pp. 42-43.
  42. See their entries under “ People ”.
  43. See their entries under " Gods ".
  44. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third episode No. 38, Göttingen 1956, p. 14.
  45. See Ernst Heitsch: Epic Artificial Language and Homeric Chronology . Heidelberg 1968, p. 62, note 40.
  46. Cf. Sigrid Deger-Jalkotzy: The pre-Homeric epic - clues and probabilities . In: Joachim Latacz, Thierry Greub, Peter Blome, Alfried Wieczorek (eds.): Homer. The Myth of Troy in Poetry and Art . Munich 2008, p. 102.
  47. See Ernst Heitsch: Old and New on the Iliad. Reflections on the genesis of the work . Stuttgart 2006, pp. 23-32.
  48. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third series no. 38, Göttingen 1956 pp. 64–63.
  49. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third series no. 38, Göttingen 1956 pp. 30–42.
  50. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third series no. 38, Göttingen 1956 pp. 52–63.
  51. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third episode No. 38, Göttingen 1956 pp. 43–51.
  52. See Wolf-Hartmut Friedrich: Wounding and death in the Iliad. Homeric modes of representation. Third episode no. 38, Göttingen 1956 pp. 11-29.
  53. See Hermann Fränkel: Poetry and Philosophy of Early Hellenism . 3. Edition. Munich 1976, p. 40.
  54. See Gustav Adolf Seeck: Homer. An introduction. Stuttgart 2004, pp. 167-169.
  55. Cf. Herbert Pflügge : Wellbeing and Misbeing . Tübingen 1962. Graham Zanker : The heart of Achilles: characterization and personal ethics in the Iliad . Ann Arbor 1994. Hermann Fränkel: Poetry and philosophy of the early Greek culture . 3. Edition. Munich 1976, pp. 86-87; see. also soul # Pre-Christian antiquity .
  56. See S. Darcus Sullivan : Psychological and Ethic Ideas . Leiden 1995.
  57. Cf. Norbert Blößner : Thymos . In: Joachim Ritter , K. Founder (Ed.): Historical Dictionary of Philosophy , Volume 10. Basel 1998, pp. 1187–1192. Bruno Snell: Poetry and Society . Hamburg 1965, pp. 30–55, on the last point especially p. 50.
  58. Cf. Arbogast Schmitt : Independence and dependence on human action in Homer . Stuttgart 1990.
  59. See Hermann Fränkel: Poetry and Philosophy of Early Hellenism . 3. Edition. Munich 1976, p. 86.