Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

the superior classics set ;) > Iliad Scholarship > Flashcards

Iliad Scholarship Flashcards

1
Q

Eliot on Achilles

A

“superhuman adolescent”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Jones on Achilles’ transformation

(book 23, games)

A

“from anger… to generous… running his own show – transformed”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Nagy on what Achilles becomes

A

“ritual substitute for Patroclus”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Vandiver on Achilles at end of poem

A

“Achilles finally accepts Patroclus’ death – and the human condition”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Jones on Achilles’ demands

A

“absolute in his demands on himself and others… no other way out except through the intervention of the gods”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Reeve on Achilles’ divinity

A

“all the qualities in Achilles that initially strike us as bestial are qualities intended to reveal how much like a god, how transcendently excellent he really is”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Jenkyns on Achilles and blame

A

Achilles doesn’t use the language of fault, he tends to blame fate

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Jenkyns on what stops Achilles from fighting

A

“heroic imperative” stops Achilles from going out to fight in book 9

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Vandiver on Achilles’ speech

(bk 9)

A

“Achilles’ speech [in book 9] seems to undercut the entire basis of his society and the warrior culture”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Jones on Homer forgetting about Achilles

A

Homer has been accused of “retarding the plot” - he forgets about Achilles for much of the epic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Kershaw on why Achilles is angry

A

“his timē… honour that is his entire raison d’etre, has been undermined”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Kershaw on Achilles as a team player

A

“individual stardom often conflicts with the interests of the team”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Jones on the reason for Achilles’ anger

A

“emotional hurt, own feelings of humiliation”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Kershaw on Achilles after Patroclus’ death

A

“he imposes his own death sentence… because he feels responsible for Patroclus’ death”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Sowerby on Achilles and friendship

A

“Achilles has no regard for the obligations of friendship”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Kershaw on the relationship between Achilles and Patroclus

A

“this is military male-bonding, not homoerotic passion”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Jenkyns on Achilles’ wrath

A

“we mustn’t think of the wrath of Achilles as being a fit of filthy temper”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Redfield on Hector

A

The Iliad is the “tragedy of Hector”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Graziosi on the symbolism of Hector’s death

A

The death of Hector comes to symbolise the fall of Troy

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Graziosi on the audience’s sympathy for Hector

A

audience can sympathise with Hector - we are shown how he reacts to those closest with him

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Graziosi on Hector and death

A

“we see what it means to lose hope and finally face death”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Graziosi on Hector and Andromache

A

“a good couple is a rare thing”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Jenkyns on Hector and society

A

“he’s embedded in ordinary society”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Jenkyns on why Hector needs to be a bit average

A

“what we see is internal mental conflict and its resolution… requires the character to have a certain ordinariness about him”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Graziosi on why the Iliad ends the way it does

A

“the Iliad ends with the funeral of Hector, which in a way stands for the end and the fall of the whole city”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

Dunn on the Gods

A

“the gods almost see the war as a chess game”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Sheppard on the gods’ quarrels

A

“amusing, graceful, irreverent and infinitely less important”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

Jenkyns on the gods’ lack of care

A

“we feel how little the gods care for even… the men they value the most”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

Jenkyns on the Homeric Conception

A

The Homeric Conception – that the gods are superficial and humans are really deep

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

Jenkyns on the difference between gods and men

A

“men are unhappy and the gods are happy”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Silk on the character development of humans

A

“they seem to show no capacity for development: character is concieved as static”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

Jenkyns on the end of the poem

A

“human nature has never seemed more magnificent”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

Graziosi on general humanity

A

“there is no unknown soldier in Homer. Everyone’s named”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

Jones on Zeus and Fate

A

“It is Zeus who holds the balance of life and death in the strife. It is from him that victory comes”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
35
Q

Jones on divine intervention

A

“Homer is perfectly capable of showing people making up their own minds without divine intervention”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
36
Q

Van Nortwick on portrayal of war

A

“a melancholy music that pervades the entire poem… a man facing his own death… if we are tempted to call the Iliad a celebration of war, these little biographies say otherwise”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
37
Q

Finley on portrayal of war

A

“the poet and his audience lingered lovingly over every act of slaughter”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
38
Q

Allan on portrayal of war

A

“Homer presents the complexity of war, not a one-dimensional and lazy depiction of it”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
39
Q

Vandiver on homeric society

A

Homeric Society was a ‘shame culture’ - your own self-perception is based on what others think of you

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
40
Q

Jenkyns on Shame Culture

A

Shame culture creates a tragic paradox in the poem

(hector going out to fight)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
41
Q

M. Davies on the killing of Dolon

A

“cowardly and treacherous murder”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
42
Q

Jones on the killing of Dolon

A

“crude and unheroic”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
43
Q

Edwards on the killing of Dolon

A

“not unhomeric”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
44
Q

Selby on Xenia

(vulnerability of)

A

Xenia “was vulnerable to abuse and change”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
45
Q

Selby on Xenia

(civilisation)

A

“a way of gauging the level of civilisation of a community”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
46
Q

Sowerby on Xenia

A

“even under the stress of war, the civilised decencies of the heroic world are generally maintained”

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
47
Q

Hauser on Helen

A

Helen is an “anti-woman – a woman men are afraid of”

48
Q

Greenwood on the tradition of Helen

A

“voyeuristic tradition of Helen of Troy”

49
Q

Kershaw on women

A

“there is a sensitive awareness of the domestic perspective”

50
Q

Hauser on gender roles

A

“man are the speakers, women are the passive ones who go home and do their weaving”

51
Q

Hauser on men/women’s world

A

“this is a very firmly man’s world, and women have no place in it”

52
Q

Hauser on how women are presented

A

“women are very much conceptualised as objects”

53
Q

Hauser on the importance of women

A

“these are stories that begin because of women”

54
Q

Hauser on Helen and Homer

A

“Helen, the weaver, is also being connected to Homer, the poet, and she’s telling a story of war”

55
Q

Graziosi on Andromache

A

“Andromache is imagined as a monument of future glory to the dead Hector”

56
Q

Jones on the end of the poem

A

“gratifying sense of resolution”

57
Q

Minchin on direct speech

A

“45% of the Iliad is direct speech, we realise the value he set upon this mode of storytelling”

58
Q

Foley on performance

A

“took shape not as silent text but as audible story performance”

59
Q

Foley on how to appreciate the epic

A

Epics “cannot be fully cherished without taking [their oral] heritage into account”

60
Q

Jenkyns on book 9

A

Can be seen as a moral tragedy pivoting on Book 9

61
Q

E.T. Owen on the most important speech in the Iliad

A

Achilles’ in book 9

62
Q

Jenkyns on the climax of the poem

A

seems like it should be the killing of Hector

63
Q

Morrison on visualisation

A

Helping the audience to visualise the scenes at Troy is integral to the Iliad; perhaps this is what has made it endure

64
Q

Jones on similes

A

Similes give “contemporary vividness… to the homeric past”

65
Q

Dunn on epithets

A

“building blocks of the epic”

66
Q

Jenkyns on major characters

A

Most major characters (like Odysseus and Ajax) are “entirely inessential to the plot”

67
Q

Jenkyns on Phoenix

A

Phoenix is essential – he was clearly added as an afterthought (we can see in the greek plurals) and so he shows the childlike side to Achilles

68
Q

Jenkyns on book 23

A

“only part of the poem which becomes social comedy”

69
Q

Kershaw on Homeric excellence

A

“‘excellence’ depends on birth, wealth, power and position”

70
Q

Thorpe on heroes

A

“knowing that his life might end at anytime, the hero tried to create something permanent and lasting”

71
Q

Owen on Achilles’ acquiesance to Agamemnon

A

Because Athena made him acquiese, his impression isn’t tainted.

72
Q

Sowerby on the Homeric man

A

“neither the reward of heaven nor the pains of hell… Homeric man seeks to make the most of his present existence”

73
Q

Sowerby on the portrayal of war

A

“the battles are whole hearted and there is exhilaration in the fighting”

74
Q

Snider on reconciliation

A

“the Iliad is a series of reconciliations”

75
Q

Eberhard on fate

A

“Fate must occur so that the narrative moves towards a resolution.”

76
Q

Sowerby on gods and time

A

time is important for gods too; Agamemnon insults Apollo’s honour (his time) when he takes Chryseis

77
Q

Reinhardt on the gods

A

The Gods exhibit “sublime triviality”

78
Q

Kershaw on the book 6 moment between Andromache and Hector

A

“an incredibly powerful moment… clearly not concerned with male dominance”

79
Q

Gaca on the enslavement of women and girls

A

“the girls and women are captured for for the purpose of sexual and other exploitation”

80
Q

Sowerby on women

A

“women… are treated with attention, consideration and respect”

81
Q

Peter Jones on Hector

A

“pure patriot”

82
Q

Leaf on Hector

A

“far nobler than Achilles”

83
Q

Farron on Briseis

A

her speech in Book 19 “imprints in the audience’s mind that Briseis’ feelings are real and her life is truly tragic”

84
Q

Whitmore on Thersites

A

he is an “incarnation of the ugly truth”

85
Q

Haubold on Hector

A

Hector finds human warmth in his death by those who will remember him through his kleos.

86
Q

John Scott on Hector

A

Hector is the moral hero of the poem

87
Q

Lattimore on Hector

A

He captures the affection of the modern reader more than Achilles does

88
Q

Fagles on Achilles’ killing of Hector

A

“when Achilles destroys Hector in revenge he must destroy himself as well, his flashing mirror-image embodied in his victim”

(because Hector was wearing Achilles’ own armour)

89
Q

Knox on Achilles’ rage

A

“the rage of Achilles… is the theme of the poem, the mainspring of the plot”

90
Q

Knox on the poem’s regular rhythm

A

“presenting in a rhythmic microcosm the wandering course to a fixed end which is the pattern of the rage of Achilles”

91
Q

Knox on book 23

A

An older form of a verb “would indicate that the account of the funeral games of Patroclus is one of the oldest parts of the poem”

92
Q

Knox on epithets

A

“the choice of the epithet is dictated by the meter”

93
Q

Knox on Homer’s battles

A

“clearly a creation of the epic muse rather than a representation of actual battle conditions”

94
Q

Knox on death

A

“death is the end: Homer offers no comforting vision of life beyond the grave”

95
Q

Knox on Homeric Heroes

A

“it is for the body, not the soul, that the Homeric heroes feel concern”

96
Q

Knox on the balance of joy and violence

A

“the victor’s joy of battle and the hideous suffering of the victim are equally balanced”

97
Q

Knox on Troy

A

“the literary prototype of all Greek cities”

98
Q

Knox on Hector (burden)

A

” on him falls the whole burden of the war”

99
Q

Knox on Hector (relationships)

A

“he is a man who appears most himself in his relationship with others”

100
Q

Knox on Achilles’ choice

A

“he has chosen glory and death. the natural consequence of that choice is a fierce devotion to the glory which he has preferred to a long life”

101
Q

Knox on books 20 and 21

A

“the violence of books 20 and 21 make what has gone before seem child’s play”

102
Q

Knox on divine intervention

A

“there is a correlation between divine intervention and independent human action”

103
Q

Knox on fate

A

“sometimes the possibility is raised that what is fated will actually be annulled by divine will - or even by humans”

104
Q

Knox on gods and men

A

“gods and men, for Homer, are very much alike”

105
Q

Knox on the wrath of the goddesses

A

“Hell hath no fury like a goddess scorned”

106
Q

Knox on divine intervention (reasons)

A

“the reasons for divine intervention are trivial, human”

107
Q

Knox on the nature of gods

A

“imagined in the likeness of man… but magnified in scale”

108
Q

Knox on the fighting of the gods

A

“no reaction other than laughter seems possible”

109
Q

Knox on the gods and death

A

“the gods are exempt from the ultimate consequence of action… they will survive”

110
Q

Knox on the battlefield and gods

A

“only men can have true dignity on the battlefield; the presence of gods there is an impertinence”

111
Q

Knox on gods and power

A

“the Homeric god recognises no authority outside itself - except superior force”

112
Q

Knox on Helen

A

“Helen has nothing without her beauty… without Aphrodite she would be nothing”

113
Q

Knox on Achilles in bk 23

A

“a vision of what Achilles might have been like in peace”

114
Q

Knox on Achilles in bk 24

A

When he meets Priam, he moves from godlike to human

115
Q

Knox on the end of the poem

A

“we are left with a sense of waste”

the superior classics set ;) (4 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions