Core narrative motifs in the Iliad
Honouring the beauty in timeless storie
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Honouring the beauty in timeless storie
“Goddess, sing of the cataclysmic wrath of great Achilles, son of Peleus which caused the Greeks immeasurable pain and sent so many noble souls of heroe to Hades, and made men the spoils of dogs, a banquet for the birds, and so the plan of Zeus unfolded — starting with the conflict between great Agamemnon, lord of men, and glorious Achilles.”
Reading Dr. Emily Wilson’s translation of the Iliad. We find ourselves catapulted into a world full of gods, heroes, men and women. Where nature and animals bear witness to tragic unfolding of events.
How can a handful of lines (extract above) encapsulate the enormity of the story with remarkable brevity, setting the stage for an exploration of the epic’s narrative motifs?
I want to shine a light on these narrative motifs. Concepts and themes — that once framed and understood — I believe, unlock the story. Shifting the experience from ‘reading’ to ‘living’ this epic poem.
A Cosmic Hierarchy
In the first verse, the narrator introduces all character archetypes in a very specific order.
![The goddess Aphrodite. Goddess of love, lust, beauty, and passion.]()
The Goddess. Aphrodite. Goddess of love, lust, beauty, and passion.
The Supra-human.
Swift-footed Achilles. Son of Peleus and Thetis (daughter of Ocean).
The Warriors, Heroes, and Kings. Agamemnon took Achilles' war prize (Briseis) after losing his own, prompting Achilles to withdraw from battle in anger, which nearly cost the Greeks the war.
People
Animals
1. The Goddess / Gods. In a polytheist society such as the one presented in the Iliad, many gods were revered. Each with its specific role, function, and status in the divine landscape.
Gods are different from all other non-godly being because they cannot die. The Homeric Gods such as Zeus, Hera, Apollo, Aphrodite, and Ares are a selected few members of the Olympian family; divine characters in the Iliad.
2. The Supra-human. Applies to the men and women born out of the mingling between humans and gods.
For example, Helen of Troy is universally acknowledged for her divine complexion. Helen was said to be the daughter of Zeus and Leda. Her role is catalytic in the story of the Iliad. Fleeing from her husband Menelaus (Greek lord and brother to Agamemnon ‘lord of men’) under your prince Paris Alexander’s arm (son of King Priam of Troy). Her actions eventually leading to Agamemnon’s colossal army laying siege to the city of Troy. the Supra-humans are often said to be ‘god-like’, ‘godly’, or to look like a god. However their mortal condition prevents them from ascending to the divine status.
3. The Warriors, Heroes, and Kings. Meshing those three character types under one archetype is done for a specific reason. Men in the world of the Iliad live in a world of conflict.
We often see in the Iliad, men calling on to each other using their name, patronymic, and place of birth / origin. Solidifying one’s existence into an individual and collective lineage. While amassing glory and trophies was nothing short of a constant struggle, retaining the latter was perhaps even more difficult. Either as gifts to the gods, reparations for past offenses, or having them seized. Loss and restitution governed the Achean social dynamics.
4. People. In a story where all key characters belong to an aristocracy made of Kings, lords and leaders.
Regardless of the nobility of their souls, people in the backdrop are to this poem, what extras are in contemporary movies.
5. Animals. Employed both literally and metaphorically to enhance the narrative, convey themes, and develop character.
For example, lions and wolves are emblematic of the ferocity and predatory nature of warfare. Birds, particularly eagles, act as omens, with their behaviors interpreted as signs of divine will, foretelling victory or doom. Horses, representing nobility and speed, underscore the heroic status of their riders, while also reminding us of mortality’s inescapable reach, even for those of divine descent. Dogs, scavenging the battlefield, symbolize the dishonor of unburied warriors, reflecting the brutal realities of war.
Gods are different from all other non-godly being because they cannot die. The Homeric Gods such as Zeus, Hera, Apollo, Aphrodite, and Ares are a selected few members of the Olympian family; divine characters in the Iliad.
“In this world, gods are virtuous, deceitful, jealous, magnanimous, and shameful. Gods have their favorite mortal, and they voluntarily interfere in the affairs of men and women to further their own agenda.”
2. The Supra-human. Applies to the men and women born out of the mingling between humans and gods.
For example, Helen of Troy is universally acknowledged for her divine complexion. Helen was said to be the daughter of Zeus and Leda. Her role is catalytic in the story of the Iliad. Fleeing from her husband Menelaus (Greek lord and brother to Agamemnon ‘lord of men’) under your prince Paris Alexander’s arm (son of King Priam of Troy). Her actions eventually leading to Agamemnon’s colossal army laying siege to the city of Troy. the Supra-humans are often said to be ‘god-like’, ‘godly’, or to look like a god. However their mortal condition prevents them from ascending to the divine status.
d
“These offspring are often granted unique abilities or characteristics. Albeit, seldom of their own choosing. These abilities signal an excellence or difference from others (people with a ‘pure’ human ancestry).”
3. The Warriors, Heroes, and Kings. Meshing those three character types under one archetype is done for a specific reason. Men in the world of the Iliad live in a world of conflict.
We often see in the Iliad, men calling on to each other using their name, patronymic, and place of birth / origin. Solidifying one’s existence into an individual and collective lineage. While amassing glory and trophies was nothing short of a constant struggle, retaining the latter was perhaps even more difficult. Either as gifts to the gods, reparations for past offenses, or having them seized. Loss and restitution governed the Achean social dynamics.
d
“In this context, men’s motivations converge towards gaining glory, and boasting about their victories or achievements. This behaviour allowed for warriors, heroes, and kings of ancient greece to exist in the Achean social structure.”
4. People. In a story where all key characters belong to an aristocracy made of Kings, lords and leaders.
Regardless of the nobility of their souls, people in the backdrop are to this poem, what extras are in contemporary movies.
“It is unheard for the commoner, or the low-tier leader to make a name for himself. Thersites ‘the ugliest Greek to march on Troy’, stands up to Agamemnon and rouses his fellow men to follow suit. Only to be violently reprimanded by Odysseus.”
5. Animals. Employed both literally and metaphorically to enhance the narrative, convey themes, and develop character.
For example, lions and wolves are emblematic of the ferocity and predatory nature of warfare. Birds, particularly eagles, act as omens, with their behaviors interpreted as signs of divine will, foretelling victory or doom. Horses, representing nobility and speed, underscore the heroic status of their riders, while also reminding us of mortality’s inescapable reach, even for those of divine descent. Dogs, scavenging the battlefield, symbolize the dishonor of unburied warriors, reflecting the brutal realities of war.
“Their symbolic roles are multifaceted, reflecting the characters’ virtues, vices, societal values, and the overarching fatalism present in the epic.”
The Feminine and Masculine
There is an interesting parallel between the inevitabilities males and female characters are subject to.
There is an interesting parallel between the inevitabilities males and female characters are subject to.
For example the greatest Greek and Trojan fighters, Achilles and Hector are bound to a code of honor. It is this code that will move Hector away from a desire to fight for one’s people, to fighting for one self. And meeting Achilles outside to city walls, alone. The fall of Hector symbolically foreshadow’s the fall of Troy (Hector being the defender of Troy, eldest son of king Priam). This is a terrible thing for Andromache (Hector’s wife). Who implores him not to face Achilles, as it most certainly means death for Hector. The inevitabilities Andromache faces, as any other woman in the city, such as rape and enslavement are very real. Something she cannot escape. Just like Hector, or any warrior, cannot escape death.
f
For example the greatest Greek and Trojan fighters, Achilles and Hector are bound to a code of honor. It is this code that will move Hector away from a desire to fight for one’s people, to fighting for one self. And meeting Achilles outside to city walls, alone. The fall of Hector symbolically foreshadow’s the fall of Troy (Hector being the defender of Troy, eldest son of king Priam). This is a terrible thing for Andromache (Hector’s wife). Who implores him not to face Achilles, as it most certainly means death for Hector. The inevitabilities Andromache faces, as any other woman in the city, such as rape and enslavement are very real. Something she cannot escape. Just like Hector, or any warrior, cannot escape death.
“...these characters — regardless of how minor or major their role is in the story — are never really in control of their lives.”
Supernatural and natural
In the Homeric epics, the natural world serves not only as a backdrop for the narrative but also as a fundamental structure that delineates the realms and interactions of gods and mortals.
For example Athena’s manifestation behind Achilles during his quarrel with Agamemnon in “The Iliad” exemplifies this dynamic. This moment underscores the gods’ role as protectors, advisors, and influencers of human actions. Athena, the goddess of wisdom and war, intervenes at a critical juncture to prevent Achilles from acting on his rage, thereby altering the course of events. She is said to have pulled on Achilles’ hair while the warrior was slowly drawing his sword. Her appearance and disappearance are seamless, illustrating the gods’ ability to move effortlessly between their realm and the world of men, emphasizing their omnipresence and omnipotence.
f
For example Athena’s manifestation behind Achilles during his quarrel with Agamemnon in “The Iliad” exemplifies this dynamic. This moment underscores the gods’ role as protectors, advisors, and influencers of human actions. Athena, the goddess of wisdom and war, intervenes at a critical juncture to prevent Achilles from acting on his rage, thereby altering the course of events. She is said to have pulled on Achilles’ hair while the warrior was slowly drawing his sword. Her appearance and disappearance are seamless, illustrating the gods’ ability to move effortlessly between their realm and the world of men, emphasizing their omnipresence and omnipotence.
“This world, imbued with divine presence and power, acts as a stage where the gods frequently cross the boundaries between the celestial and the earthly, directly influencing human affairs.”
Similarly, Apollo’s descent “like night” onto the Greek camp, unleashing disease and death with his arrows, highlights the gods’ capacity to administer justice or express displeasure with mortal actions. Apollo’s intervention, provoked by Agamemnon’s insult to his priest, demonstrates the gods’ vested interest in human affairs when they are themselves concerned.
Conclusion
In surfacing these themes, I hope to alert people interested in the Iliad, helping them recognize these key narrative motifs. Insights into the human condition, the nature of heroism, and the intricate dance of fate and free will. Through this short exploration, we gain a deeper understanding of the epic, transforming our reading into a more profound experience of living through the poem's timeless stories.
1. A Cosmic Hierarchy delineates a structured universe where gods and mortals coexist yet remain bound by their inherent traits and destinies.