Ascend - The Great Books Podcast

WE ARE STARTING THE ODYSSEY! Dcn. Harrison Garlick is joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss Book One of the Odyssey. Check out our website - thegreatbookspodcast.com - for a written guide to the Odyssey and other resources. Questions discussed:What happens in book one?What should be observed about the invocation to the Muses?What should be made of Zeus’ comment on fate?What happened to Agamemnon?What should be made of Telemachus?What major themes and narratives help unfold the story of the Odyssey?Join us as we continue in our YEAR OF HOMER.

Dcn. Harrison Garlick welcomes Dr. Patrick Deneen, Dr. Chad Pecknold, and Dr. Richard Meloche to introduce Homer's Odyssey. Dr. Patrick Deneen is a Professor of Political Science at Notre Dame. He is the author of many books and articles including Why Liberalism Failed (2018). His teaching and writing interests focus on the history of political thought, American political thought, liberalism, conservatism, and constitutionalism.   Dr. Chad Pecknold, Associate Professor of Systematic Theology at the Catholic University of America. “In political theology, Pecknold is principally concerned with close readings of Augustine’s masterwork, The City of God, as a fundamental and transcendent vision that inspires, and has the power to critique and correct, the dynamics of Western civilization.”Dr. Richard Meloche, President of the Alcuin Institute for Catholic Culture, a ministry of the Roman Catholic Diocese of Tulsa and a colleague of Dcn. Garlick's at the Chancery.INTRODUCTION TO THE ODYSSEYThe group discusses the canon of the great books, why we should read Homer and his Odyssey, the role of the great books in theological formation, and key introductory themes in Homer's Odyssey. Against Great Books by Deneen: https://www.firstthings.com/article/2013/01/against-great-booksThe Odyssey of Political Theory by Deneen: https://www.amazon.com/Odyssey-Political-Theory-Politics-Departure/dp/0847696235?ccs_id=073621fb-e234-4289-9205-bc6fab3f444aCheck us out on Facebook, X (Twitter), Youtube, and Patreon.

Dcn. Harrison Garlick and Adam Minihan discuss the events BETWEEN the Iliad and the Odyssey. There is a notable gap between the Iliad and the Odyssey. As the Odyssey picks up after the fall of Troy, tradition turns to authors such as the Greek poet Sophocles, the Greek poet Euripides, and the Roman poet Virgil to tell the story of how Troy fell. The following questions, while tracking the fates of specific individuals, tell the narrative that occurs between the Iliad and the Odyssey. One may make a distinction between the Homeric tradition and the Greek tradition at large.What does this episode cover?What happens to Achilles?What happens to Giant Ajax?What happens to Paris?What is the story of the Trojan Horse?How does Troy fall?What happens to Astyanax, Hector's son?We start reading the Odyssey next! Join us!

Dcn. Harrison Garlick and Adam Minihan discuss the FINAL book of the Iliad: Book 24 - Achilles and Priam. Check out our 65-page guide to the Iliad!I have put to my lips the hands of the man who killed my son. Priam to Achilles (24.591) 103.    What happens in book twenty-four?The funeral games have ended, and Achilles, who still mourns for Patroclus, drags Hector’s body behind his chariot around Patroclus’ tomb (24.19). Twelve days after the death of Hector, Apollo pleads with the gods to save the body of the Trojan prince (24.39). In response, Zeus declares that “Achilles must receive a ransom from King Priam, Achilles must give Hector’s body back” (24.94). Zeus tells Thetis his plan, and Thetis informs her son (24.127). Zeus sends Iris to Troy to tell King Priam, who she finds smeared in dung and mourning his son, that the Father of gods and men commands him to ransom his son from Achilles (24.204). Priam, despite the protests of his wife (24.238), obeys the goddess and prepares to leave (24.259). Priam leaves Troy on his chariot alongside a wagon of treasure (24.382). On the plains of Troy, Priam is met by Hermes, under the guise of a Myrmidon, who guides him into the Achaean camp (24.526). Hermes reveals himself to Priam and tells the king of Troy to go into Achilles’ tent and hug his knees (24.546).Priam does as he is told, and, hugging the knees of Achilles, kisses “his hands, those terrible man-killing hands that slaughtered Priam’s many sons in battle” (24.562). Priam exhorts Achilles to remember his own father, Peleus, and Achilles thinks of his father and weeps with Priam (24.595). Priam asks for the body of Hector (24.650), and though Achilles warns Priam not to tempt his rage (24.667), Achilles has the body of Hector washed and carries it to the wagon himself (24.691). Achilles promises King Priam that the Achaeans will wait twelve days before restarting the war to allow Troy to bury Prince Hector (24.787). Priam sleeps on the porch outside the lodge of Achilles, and Hermes wakes him up to send him home before Agamemnon finds him (24.808). Priam returns home to Troy, and Troy is “plunged… into uncontrollable grief” (24.831). For nine days, the Trojans “hauled in boundless stores of timber” for the funeral pyre of Hector (24.921). On the tenth day, they set the body of Hector “aloft the pyre’s crest, [and] flung a torch and set it all aflame” (24.924). The next day, the Trojans bury Hector’s bones in a golden chest and end the rites with a “splendid funeral feast” (24.942). And thus, Homer ends the Iliad with the burial of “Hector breaker of horses” (24.944). 104.    What is the backstory of why Hera and Athena hate Troy?In the final book of the Iliad, Homer makes reference to the narratives that led to the Trojan war. Hera states that she “brought up” Thetis and gave her in marriage to a mortal, King Peleus (24.72). The story goes that Zeus loved Thetis, but the Titan Prometheus told him that Thetis was destined to bear a son greater than his father.[1] As such, Zeus gave Thetis to Peleus, a mortal, so the son would also be mortal.[2] Homer’s reference of Hera’s role in the Iliad implies she had some part in this scheme as well. Peleus had to wrestle the immortal sea nymph, Thetis, as she changed shapes to win her heart.[3] He was successful, and the gods threw a grand marriage for King Peleus and the immortal Thetis.All the gods were invited to the wedding except for the goddess Discord or Eris.[4] Discord arrived at the wedding and tossed in a golden apple for “the most beautiful” goddess.[5] Hera, Athena, and Aphrodite all claimed the prize. As Hamilton notes, “They asked Zeus to judge between them, but very wisely he refused to have anything to do with the matter.”[6] Instead, Zeus recommends the goddesses present themselves to Paris, the Trojan prince, who is “an excellent judge of beauty.”[7] Paris, however, was in exile from Troy, because Priam received a prophecy that Paris would “be the ruin of his country.”[8] The goddesses presented themselves to Paris and offered him gifts (or bribes): “Hera promised to make him Lord of Europe and Asia; Athena, that he would lead the Trojans against the Greeks and lay Greece in ruins; [and] Aphrodite, that the fairest woman in all the world should be his.”[9] Paris awarded the golden apple to Aphrodite who, in turn, offered him Helen of Sparta—who already happened to be married to the King of Sparta, Menelaus.Moreover, it is notable that Paris was already living with the beautiful nymph Oenone by Mount Ida outside of Troy.[10] She loved him without knowing he was a prince of Troy.[11] He abandoned her, even after she foretold to him what destruction awaited if he sailed to Sparta for Helen.[12] It is said she still promised to heal him if he were to be wounded in the upcoming war, but when the time came for her to help Paris, she refused—still upset about his betrayal.[13] Paris succumbed to his

Dcn. Harrison Garlick and Adam Minihan discuss Book 23 of the Iliad: The Funeral Games. Check out this section of our guide to the Iliad!Sleeping, Achilles? You’ve forgotten me, my friend. You never neglected me in life, only now in death. Bury me, quickly—let me pass the Gates of Hades. Patroclus (23.81) 100.    What happened in book twenty-three?Now back at the Achaean camp, Achilles leads his Myrmidons in mourning around the body of Patroclus (23.13). That night, as Achilles lay by the shoreline, the ghost of Patroclus appears to him (23.76). Patroclus states: “Sleeping Achilles? You’ve forgotten me, my friend… bury me, quickly—let me pass the gates of Hades” (23.81). For as Patroclus further explains, he is not permitted to cross the river Styx until he has received his funeral rites (23.86).[1] Finally, Patroclus requests that his bones and the bones of Achilles be placed in a single urn and buried together (23.100). The next morning, Achilles has a pyre built for Patroclus (23.188). Achilles slaughters sheep, cattle, stallions, and two of Patroclus’ dogs and places them all on the pyre with Patroclus (23.190). He then slaughters a dozen young Trojans, as sacrifices to lay alongside Patroclus on his pyre (23.200). The pyre is lit and, after praying to two of the gods of the winds, it burns well (23.221). Meanwhile, Homer tells us that Apollo and Aphrodite are protecting the body of Hector from harm and decay (23.212).Achilles tends to the pyre all night until “sleep overwhelms him” (23.265). Achilles awakes and tells the Achaeans to gather the bones of Patroclus and place them into a golden urn; then, the urn will be placed in a small barrow until Achilles dies, then a large barrow will be built for the two of them (23.281). Achilles then announces there will be “funeral games” (23.298), which will consist of a chariot race, boxing, wrestling, a footrace, a duel in battle gear, shot put, archery, and spear throwing. The culture of competition demonstrated in these funeral games would eventually give rise to the Olympics.[2] 101.    Who won the funeral games?The winners of the chariot race were in order: Diomedes, Antilochus, Menelaus, Meriones, and Eumelus (23.572). Eumelus received a consolation prize from Achilles (23.621). Menelaus accuses Antilochus of a foul, Antilochus concedes to him; yet Menelaus’ anger relents, and the Spartan king gives the second prize, the mare, back to Antilochus (23.680). Achilles gives the original fifth place prize to Nestor as a reminder of Patroclus (23.689). Epeus defeats Euryalus in a boxing match (23.769). Giant Ajax and Odysseus wrestle to a stalemate (23.818). Odysseus, with the help of Athena, wins the footrace (23.864). In the duel in battle gear, Giant Ajax goes against Diomedes, but the friends of Giant Ajax call for it to stop (23.913). Achilles then awards a sword to Diomedes as the winner (23.915). In shot put, Polypoetes takes the prize (23.939). Meriones, with the blessing of Apollo, defeats Teucer in archery (23.977). Lastly, Agamemnon wins the spear throwing contest by default due to his station as the high king (23.989). 102.    What else should we observe in book twenty-three? The apparition of Patroclus reveals the religious understanding that a body denied its funeral rites condemns the soul to wander in the afterlife unable to cross the river Styx (23.81). It further illuminates the spiritual cruelty Achilles inflicts upon the Trojans in the river Xanthus in book twenty-two and his present cruelty to Hector. We also see an Achilles who is now deferential to Agamemnon and his role as high king (23.179, 986). The rage of Achilles—and arguably his inhuman arc toward deification—culminates in human sacrifice (23.199). It also recalls the story of Agamemnon and his daughter. It is almost comical how the gods must also interfere with the funeral games (23.432, 859, 965), but, on the other hand, piety is rewarded even in the small things. Iron again makes an appearance in the Iliad this time as a prize (23.917).[1] Fagles, 632.[2] Fagles, 57.WE'LL BE READING THE ODYSSEY NEXT IN A FEW WEEKS!Join us!

Dcn. Harrison Garlick and Adam Minihan discuss Book 22 on the Death of Hector. “There are no binding oaths between men and lions—wolves and lambs can enjoy no meeting of the minds—they are all bent on hating each other to death.” Achilles (22.310). 97.      What happens in book twenty-two? The Trojans scurry back into the city like “panicked fawns,” while Hector remains outside the walls (22.05). Apollo, who had taken the form of a Trojan soldier to make Achilles chase him, reveals his trickery to Achilles (22.09)—and Achilles turns back to the city (22.26). Despite the pleas of Priam (22.31) and Hecuba (22.93), Hector remains outside the walls “nursing his quenchless fury” (22.115). As Achilles approaches, Hector’s courage fails, and he begins to run around the walls of Troy with Achilles in pursuit (22.163). Zeus’ “heart grieves for Hector,” (22.202), but he gives permission to Athena to do as she wills (22.220). Hector tries to enter the city, but Achilles thwarts him (22.234). Achilles also holds back the Achaean army, now observing the chase, from intervening (22.245). Zeus once again holds out his golden scales, and fate elects that it is time for Hector to die (22.249).Athena takes on the form of Deiphobus, brother of Hector, and convinces Hector to stand together and fight Achilles (22.271). Hector faces Achilles and tries to make a pact that the victor will not mutilate the corpse of the fallen but give it to his people for burial (22.301). Achilles rejects this offer, stating: “There are no binding oaths between men and lions—wolves and lambs can enjoy no meeting of the minds—they are all bent on hating each other to death” (22.310). Hector and Achilles clash in combat, and Hector calls to his brother, Deiphobus, for help—but there is no answer (22.347). Hector realizes the gods have tricked him and that his time has come (22.350). He elects to die in glory, and he charges Achilles (22.359). Achilles strikes down Hector and tells him: “The dogs and birds will maul you” (22.395). Hector pleads to be given to his people, but Achilles rejects him saying: “My fury would drive me now to hack your flesh away and eat you raw” (22.408). Hector prophesies that “Paris and Lord Apollo” will strike down Achilles outside of Troy (22.423). Hector dies (22.425). The Achaeans all stab his body (22.437), and Achilles drags it behind his chariot (22.466). Priam and Hecuba cry out for their son (22.478), and Andromache “bursts out in grief” (22.560). The book ends with Andromache lamenting the impending fate of her son, Astyanax, the little “Lord of the City” (22.569). 98.      What structure does piety give the death of Hector?Previously, Hector’s return to Troy provided an insight into the ancient threefold notion of piety: gratitude toward the gods, the city, and the family. It is a gratitude that precipitates a sense of duty. The threefold notion of piety—which is in a hierarchal order—appears to provide a certain infrastructure (and tension) to the narrative around Hector’s death. For example, Hector disregards the appeals of his parents, Priam (22.32) and Hecuba (22.93), to retreat to the walls of Troy presumably due to his duty to defend Troy (22.129). Hector’s piety toward the gods is praised by Zeus in the same conversation in which the son of Cronus orchestrates his death (22.129). It is notable the deception of Hector comes through his comradery toward another soldier of Troy and a familial relation, his brother (22.270). It further raises the question that for all Hector’s piety toward Troy, no one seems interested in helping him. Hector, who is dying, attempts to plead with Achilles by appealing to his parents (22.399). Ultimately, Hector dies prior to the fall of Troy, as he wished.Whether Hector’s piety has afforded him anything with the gods, Troy, or his family will be a question to watch throughout the end of the Iliad. 99.      What else should be observed in book twenty-two?Priam gives an insight into his own fate when Troy falls (22.73). Hector acknowledges his fatal error in not listening to Polydamas to retreat to walls of Troy after seeing Achilles, but one may question what culpability Hector bears for such a decision due to Athena’s influence (22.118). One is tempted to find meaning in Scamander (Xanthus) bring fed by both a hot and cold spring (22.177). The pattern of “three times and then on the fourth” occurs again with Hector running around the city (22.248). The golden scales of Zeus return, and again raise the question of whether Zeus is adhering to a separate nameless fate or this is simply a device to express his own will. The fatalistic quality of the Iliad is demonstrable in Achilles state that “Athena” will kill Hector (22.319), and Athena giving Achilles his spear back after he misses (22.325). One may question, as Aeneas did in a way, whether Achilles is even the b

Dcn. Harrison Garlick and Adam Minihan discussed BOOK 21 of the Iliad: Achilles Fights the River.“Come friend, you too must die. Why moan about it so? […] Even for me, I tell you, death and strong force of fate are waiting.”Achilles (21.119).CHECK OUT OUR GUIDE TO THE ILIAD.93.      What happens in book twenty-one?The Trojans are in full retreat. Achilles drives half the Trojan army back toward Troy over the plains, but the other half is driven into the Xanthus river (21.09). Achilles, who leaps into the waters, slaughters Trojans until his arm grows tired—at which point he captures twelve Trojans for Patroclus’ funeral (21.30). Achilles, “insane to hack more flesh” (21.37), returns to the river and kills Lycaon, a Trojan hugging his knees for mercy (21.131). Achilles kill Asteropaeus, son of the river god Axius, who was ambidextrous and fought with two spears (21.185). The river Xanthus takes human shape, and the river-god cries out to Achilles: “All my lovely rapids are crammed with corpses now… Leave me alone… I am filled with horror!” (21.250)Achilles agrees, but then overhears the river-god Xanthus asking Apollo to help the Trojans (21.258). Achilles plunges into the “river’s heart” to war against him (21.264), and Xanthus beats and batters Achilles down with roaring waves (21.281). Achilles cries out to Zeus to not let him die like some pig-boy who failed to ford the river (21.319), and Poseidon and Athena save him (21.325). Xanthus tries to attack Achilles again on the flooded corpse-ridden plains of Troy (21.370), but Hera sends Hephaestus to save him (21.377). The god of fire scorches the plains consuming the water and corpses alike (21.396). Xanthus cries out to Hera, and Hephaestus relents (21.418).Zeus was “delighted” to see the gods in conflict (21.442). Athena once again defeats Ares (21.462) and then batters down Aphrodite when she tries to help him (21.484). Poseidon challenges Apollo, but Apollo refuses to fight (21.527). Artemis, his sister, mocks Apollo and, having caught the attention of Hera, is subsequently beaten down by Zeus’ consort (21.545). Hermes tells Leto he will not fight her and allows her to take her daughter, Artemis, up to Olympus (21.568). Apollo heads to Troy to help them not fall to the Achaeans (21.592). The book ends with Apollo saving Agenor from Achilles, but then taking on the appearance of the Trojan and leading Achilles on a chase away from Troy (21.657). 94.      Is Achilles becoming more god-like?The increasing rage of Achilles is presented as a sort of deification. We have already seen him reject mortal food only to be fed by immortal ambrosia (19.412), and end of the last book linked his rage with being like a god (20.558). Book twenty-one continues the theme of tethering Achilles’ increasing rage with becoming more god-like.[1] Notably, in his ascending rage, Achilles the mortal elects to take on a minor god, the river-god Xanthus (21.264). One is tempted here to present Achilles’ rage as something unnatural, inhuman that is repulsive particularly to a god of nature.[2] Achilles’ ascendency to godhood via his rage shows its limitations, as he is conquered by the river-god (21.308). We should note that for him to die as a “pig-boy” would be an ignoble death in contradistinction to his elected fate to win everlasting glory in Troy. Achilles is saved by Hephaestus at Hera’s command or rather the Olympian gods save Achilles from the river-god (21.430). Achilles’ god-like rage is very much an Olympian-like rage. Many of the metaphors for Achilles’ rage are thematic to fire, and here we see the god of fire ignite and consume all around him (21.396). Zeus delights in the “chaos” between the gods (21.442). Athena beats Ares (21.462), and then cruelly and somewhat thematically beats Aphrodite on her breasts (21.484).[3] Homer shows Hera flying “into a rage” (21.546) and cruelly beating Artemis (21.561). If Achilles’ ascendency to godhood is one of rage, then Homer shows the divine rage in its maturity amongst the gods.Check out our website for more notes![1] For example, 20.21; 358.[2] Xanthus has his own rage, a rage of Achilles clogging up his waters with corpses (21.256).[3] The hatred for Aphrodite demonstrated by both Hera and Athena is at the heart of the entire Trojan war as explained in book twenty-four.

Dcn. Harrison Garlick interviews George of the Chivalry Guild on topics such as CS Lewis, virtue, magnanimity, meekness, and the importance of strength and prowess. Deacon and George will also discuss his new book - "Chivalry: An Ideal Whose Time Has Come Again" - and explore the concept of noblesse oblige. Thank you for checking out Ascend! We exist to help people study the great books and explore timeless truths. Check out our website and account on X for more information.

Dcn. Harrison Garlick and Adam Minihan discuss Book 20 of the Iliad: The Olympian Gods in ArmsSummary of the narrativeWhat is Aeneas special?Some details others often overlookCheck out our GUIDE TO THE ILIAD. “Aeneas will rule the men of Troy in power—his son’s sons and the sons born in future years.” Poseidon (20.355). 90.      What happens in book twenty?Zeus calls the gods to council and tells them that they may now aide whatever side they wish—the strict decree to not intervene is over (20.29). And why does Zeus do this? He states: “I fear [Achilles will] raze the walls against the will of fate” (20.36). As such, Hera, Athena, Poseidon, and Hermes go to the Achaeans, and Ares, Apollo, Artemis, Leto, Xanthus, and Aphrodite go to the Trojans (20.40).[1] The gods clash in an apocalyptic war (20.80). Achilles searches for Hector, but Apollo convinces Aeneas to duel him (20.99). Poseidon convinces the gods of a truce, and the immortals line the battlefield to watch the mortals wage war (20.160). After some taunting, Achilles and Aeneas meet on the battlefield (20.299). Aeneas’ spear fails to penetrate the great shield of Achilles (20.310), and the ashen spear of Achilles penetrates Aeneas’ shield but fails to hit him (20.319). Aeneas lifts a giant boulder, and we are given a future glimpse at fate: Aeneas will hit Achilles, but Achilles’ counter will slay Aeneas (20.331). Oddly, it is Poseidon, not Apollo, who takes pity on Aeneas, for Poseidon tells the gods Aeneas is “destined to survive” (20.349). Hera refuses to pity a Trojan (20.357); so, Poseidon saves Aeneas and tells him to stay away from Achilles, because “no other Achaean can bring you down in war” (20.386). Unlike with Aeneas, Apollo advises Hector to not engage Achilles (20.428). Achilles slaughters several Trojans including Polydorus, the brother of Hector (20.476). Hector, unable to bear watching Achilles slaughter his countrymen, engages Achilles against Apollo’s command and throws his spear at him (20.479). Athena makes Hector’s spear blow back to him and land at his feet (20.500), and Apollo whisks Hector away before Achilles can kill him (20.502). More and more Trojans fall to Achilles until the young Trojan Tros falls at Achilles knees, clutching him, and begs for mercy (20.524). Achilles slits open is liver and watches his “dark blood” spill out (20.530). The book ends with Achilles raging like an “inhuman fire,” like a “frenzied god” (20.558). 91.      What is the destiny of Aeneas?In his stance against Achilles, Aeneas presents his genealogy—presumably due to Apollo’s observation that Aeneas’ patrimony is more impressive than Achilles’ (20.250, 125). We also see Poseidon tell the gods that Aeneas is “destined to survive” (20.349). Most notable, Poseidon prophesies: “Aeneas will rule the men of Troy in power—his son’s sons and the sons born in future years” (20.355). How will Aeneas rule Troy, however, if Troy is already fated to be destroyed? Aeneas is destined to be the founder of a new Troy. His genealogy shows he is from the “younger branch of the Trojan royal house (Priam, king of Troy, was the older branch.”[2] And, as Fagles notes, “Aeneas is to be the only survivor of the royal house of Troy, and here his lineage is established.”[3] After the Homeric era, there is a lost poem, the Iliupersis, that states Aeneas escaped Troy with his father and son.[4] Other stories that Aeneas’ wanderings led him to Italy “may possibly have existed in the sixth or fifth centuries.”[5] By the fourth century B.C., the legend of Aeneas as the founder of Rome matured “when it was synthesized with the chronologically difficult legend of the city’s foundation by Romulus (a descendent of Aeneas through his mother).”[6]The narrative that Rome was the new Troy was so ingrained in the ancient peoples, that when a Greek king launched a war against Rome in 281 B.C., “he saw himself as a descendent of Achilles making war on a colony of Troy.”[7] The definitive legend of Aeneas as the founder of Rome come from the Roman poet Virgil who authored the Aeneid (19 B.C.). The story tells of Aeneas’ famous escape from Troy, his wanderings, and his eventual founding of the eternal city of Rome. It has been observed that the Roman Empire is the final revenge of Troy upon the Greeks. 92.      What else happens in book twenty?The opening of the text includes: “the Ocean stream that holds the earth in place,” which gives further insight into the significance of Ocean’s river limning Achilles’ shield (20.09). It is notable that Zeus believes he must tend to fate and be its caretaker at times, as he releases the Olympian gods to ensure Achilles does not take Troy “against the will of fate” (20.36). As if fate, on some level, must be cared for in order to properly mature. One should note that Hera gives a different reason for the gods intervening: “so Achilles might

Dcn. Harrison Garlick and Adam Minihan discuss Book 19 of the Iliad: The Champion Arms for Battle!Achilles prepares to enter the war!Summary of Book 19How does Odysseus try to broker peace?What should we make of Briseis weeping over Patroclus?Who is Ate, the goddess of ruin?“You talk of food? I have no taste for food—what I really crave is slaughter and blood and the choking groans of men!” Achilles (19.254). 85.      What happens in book nineteen? Thetis returns to Achilles with new armor crafted by Hephaestus (19.03). Achilles lets loose his war cry, and the Achaean army gathers around him (19.47). Achilles promises to cease his rage against Agamemnon and to rejoin the war (19.63). Agamemnon, in turn, blames the gods for his madness, as they blinded him and “stole his wits” (19.162). He pledges to Achilles all the treasures Odysseus promised him (19.168). Achilles accepts Agamemnon’s non-apology and calls the Achaeans to war (19.176). Odysseus counsels to allow the men to eat and rest, and that Agamemnon do three things: give the gifts to Achilles now, swear he’s never had sex with Briseis, and host Achilles at a feast (19.204). Agamemnon agrees (19.220), and Achilles begrudgingly agrees—but swears he will neither eat nor drink until he can wage war (19.249). He famously declares: “You talk of food? I have no taste for food—what I really crave is slaughter and blood and the choking groans of men!” (19.254). The Achaeans follow the advice of Odysseus (19.281). Achilles refuses to eat, and Zeus sends Athena to place ambrosia “deep within his chest” to give him strength (19.412). With “unbearable grief” and “bursting with rage,” Achilles prepares to fight the Trojans (19.434). The narrative ends with one of Achilles’ horses, Roan Beauty, prophesying to Achilles about his death (19.483). 86.      Why does Odysseus push for the gifts to be given prior to returning to war? In the last book, Achilles said he would “beat his anger down” and fight for the Argives (18.133). The thesis was presented, however, that it is more that Achilles shifts his rage to Hector than he truly forgives Agamemnon (Question 82). In book nineteen, we see Achilles’ anger continue fester. The more he stared at his new armor “the deeper his anger went” (19.19). To the Achaean army, Achilles largely repeats his commitment to relent in book eighteen, stating additionally, in part, “Now, by god, I call a halt to all my anger—it’s wrong to keep on raging, heart inflamed forever” (19.76). Here, he must only mean his rage against Agamemnon, for his rage and bloodlust continue to boil, as evident in his famous line: “You talk of food? I have no taste for food—what I really crave is slaughter and blood and the choking groans of men!” (19.254). By the time he arms for battle, he is again “bursting with rage” (19.434). Odyssey’s push to address the issues between Achilles and Agamemnon prior to returning to war may be seen as a push toward true reconciliation (or, more realistically, a practical resolution). He knows, as do all the Achaeans, that Achilles’ rage makes him capricious. As such, his push to give the treasure, to give the oath about Briseis, and to feast all seemed aimed at capitalizing and securing this moment of peace and reunion. Stability between the two heroes is vital for an Achaean success. Between Achilles’ shift in rage and Agamemnon’s fatalistic non-apology, Odysseus seeks to find a reliable truce. 87.      What should we make of Briseis weeping over Patroclus? After Briseis is released by Agamemnon, she comes upon the body of Patroclus (19.333). We learn, amongst other things, that Achilles killed her husband, and that Patroclus comforted her (19.348). The nature of his comfort, however, is notable, as Patroclus promised Briseis that she would become the wife of Achilles (19.351). The revelation is notable for two primary reasons. First, one may tether this insight to Patroclus’ mission in Troy to help Achilles quell his anger. In other words, Patroclus sees marriage as a way to help his friend temper his emotions and mature. Secondly, this leads into Thetis presenting Achilles with his two fates: to return to Troy, marry, and live a long life or fight and die in Troy to gain immortal glory. The question becomes whether, in Achilles’ mind, returning home meant marrying Briseis, and whether this revelation informs, in part, his rage against Agamemnon for taking her. Moreover, the choice of Thetis becomes less a speculative consideration and more a concrete life with Briseis he is forgoing for glory. One wonders whether her return to his tent will make him rethink his decision or whether his rage over the death of Patroclus will continue to outweigh all else. Finally, we should note the irony Homer presents in Patroclus, the one who had the mission of tempering Achilles’ rage, now serving as the source o

Dcn. Harrison Garlick and Adam Minihan discuss Book 18 of the Iliad: The Shield of Achilles. Arguably the MOST philosophically dense book in the entire Iliad. Summary of the NarrativeWhat lesson does the "heart" of Achilles teach?How do we interpret the shield of Achilles?Check out our 115 QUESTION GUIDE to the Iliad. How should we interpret the shield of Achilles?The shield of Achilles presents a commentary on the cosmos. It is a testament to the Greek belief that the world is ordered and in balance. From the heavens to human civilization to the boundaries of the known world, a certain order and intelligibility permeates reality. Reality is not chaotic. Man inhabits an ordered whole.Homer presents the scenes on the shield starting with the center and moving outward in concentric circles toward the edge with certain circles having multiple parts. The scenes on the shield may be described as follows: 1.    The earth, sky, sea, sun, and moon (18.565)2.    The constellations (18.567)3.    City at Peace: The wedding feast (18.573)4.    City at Peace: The court of justice (18.580)5.    City at War: A city under siege (18.593)6.    City at War: Raid by the besieged (18.598)7.    Ploughing the field (18.629)8.    Harvesting the field (18.639)9.    The vineyard festival (18.654)10. The cattle under attack (18.670)11. The flock in the meadow at peace (18.686)12. The circle of dancing and courtship (18.690)13. Ocean’s River (18.708) On the shield itself, one may expect that Zeus would inhabit the center of shield rather than the heavenly bodies. The absence of Zeus at the center raises the question of the role of the gods within the cosmos. Notably, there is no ring dedicated to the Olympian gods, as one may think vital to a testament on the order of the cosmos. Moreover, the only Olympian gods that are mentioned are in the City at War. One may question whether there is a Homeric lesson embedded here on whether the gods are agents of order or chaos within the cosmic whole.The City at Peace is characterized by love and justice. The marriage is a witness to love and binding, while the court scene is a witness to justice and resolution. Note that the City at Peace is not without conflict; rather, the City at Peace is able to resolve the conflict through justice. The City at War is an obvious contrast. The city under siege inevitably recalls the current plight of Troy. It is, as noted above, the only section that includes the gods.The ploughing and harvesting scenes are naturally coupled. The plowmen enjoy wine as they work, and the harvesting depiction includes the presence of the king and terminates in a harvest feast (18.650). The pastoral imagery is coupled with characteristics of civilization. The vineyard scene is one of wine, music, innocence, and joviality. Though unnamed, it is all characteristic of Dionysus, the jovial wine-god. The cattle scene, however, is one marked by duty, danger, death, and violence. There is also the coupling of the domestic cattle and the wild lions. The herdsmen being unable to fend off the wild lions presents parallels to the conflict in the earlier City at War, and both scenes raise an inclination that there are analogues here to the present conflict in Troy. The conflict of the herdsmen and lions gives way to the serene meadow at peace—a possible parallel to the City at Peace. We then receive the circle of dancing, another festive scene, and one set within the courtship of young boys and girls (18.693). The human depictions on the shield of Achilles appear to begin and end with love. The rim of the shield is the rim of the known world, Ocean’s River.There are many more questions about the shield. For example, what is Hephaestus’ intent is presenting such a narrative on the shield? Moreover, what in the character of Achilles—whose rage is the animus of the epic—corresponds to such a cosmic reflection on the order of civilization? One answer may lie in the two fates of Achilles. The shield depicts the life of peace and marriage that Achilles rejected in favor of a life of war and glory. Another question would be whether Achilles learns anything from the depiction on his shield. Does the cosmic narrative of peace and war affect his character at all? One is tempted to note that, when Achilles holds the shield, the narrative faces away from him—he is blind to it. What then does it mean for others, especially the Trojans, who can look upon both Achilles and his shield?[1][1] Another comparison is to the Iliad and the Odyssey; as the former is often called a book of war, while the latter is called a book of peace. Each epic, to a degree, takes up the themes of their respective cities.

Dcn. Harrison Garlick and Adam Minihan discuss Book 17 of the Iliad: Menelaus' Finest Hour. Summary of Book 17What is the "dark heart" of Hector?Can human agency affect fate?What about the horses of Achilles?Check out our 115 Question & Answer Guide on the Iliad. But grief bore down on Hector, packing his dark heart.Homer (17.92) 75.      What happens in books seventeen?The body of Patroclus still lays on the plains outside of Troy. Menelaus, the Spartan king, slays Euphorbus, the Trojan who had speared Patroclus (17.51). Apollo spurs Hector to fight for the body of Patroclus (17.84), and Hector is able to remove Patroclus’ gear—but Ajax returns and stops him from decapitating the corpse (17.146). Glaucus, friend of the dead Sarpedon, chastises Hector for retreating from Ajax and implies that if Hector was more like Ajax, they could have saved the body of their comrade, Sarpedon (17.172). Hector retorts he is no coward, but the will of Zeus forces cowardice upon him (17.201). Hector then puts on the armor of Achilles, stripped from Patroclus, and Zeus, taking pity on Hector, grants him power and makes the armor fit well—but also states Hector will never return home again (17.230).Hector leads the Trojans in battle for the body of Patroclus (17.263), and the Achaeans, led by giant Ajax and Menelaus, mount a defense (17.290). The Achaeans take the advantage, and Apollo spurs Aeneas to rally the Trojans (17.379), but Ajax and the Achaeans remains stalwart in their defense (17.420). Zeus shifts his favor to the Achaeans and sends Athena to rouse their fighting spirits (17.623). Apollo chastises Hector, and as Hector charges to the frontlines, Zeus releases a bolt of lightning to show he now favors the Achaeans (17.670). Giant Ajax laments: “Dear god, enough! Any idiot boy could see how Father Zeus himself supports these Trojans” (17.707). Zeus pities Ajax and thus removes his storm clouds from the battlefield and “the whole war swung into view” (17.729). Menelaus, at the suggestion of Ajax, sends Antilochus, son of Nestor and “a favorite of Achilles,” to go tell Achilles what has happened (17.776).[1] The Achaeans grab the body of Patroclus and bear him back to their ships, as the two great Aeantes hold off the Trojans (17.823, 843); until Hector and Aeneas come leading the Trojans “like a crowd of crows… screaming murder,” and the Achaeans break and flee for the ships (17.846). 76.      What should we make of the “dark heart” of Hector?In book seventeen, we are introduced to the “dark heart” of Hector (17.92). The “dark heart” is presented within the juxtaposition of Apollo spurring Hector to fight (17.84), and Hector surveying the reality of the battlefield (17.93).[2] It is a moment of “grief” for the Trojan Prince (17.92). Hector does charge the front line “loosing a savage cry, and flaring on like fire, like the god of fire” (17.96). Such a reaction to the spurring of a god seems normative in the Iliad, but what seems abnormal is the moment of grief in between. Moreover, the pattern occurs again later in which Apollo again spurs Hector, Hector bears a “black cloud of grief,” and then charges the frontlines (17.660, 670).The “dark heart” of Hector gives further credence to his role as the tragic, tortured hero of Troy. He is or is becoming a broken vessel over spent by the gods. How many lives has Hector already given for Troy? Yet over and over again, he is reanimated by the gods and tossed back into the fray of a war already determined. He a ragdoll in a fatalistic dispute amongst the gods. In fact, right after the second notion of this grief gripping Hector, he is speared in the chest but presumably saved by the divine (17.684). One may consider what psychological toll the war is bearing on Hector and how much more the Trojan prince has to give for his homeland. 78.      How much does human agency affect fate?The Iliad is often critiqued for being overly fatalistic: man lacks any true agency in the world and his actions are simply determined by the divine. For example, when Glaucus sets forth the critique of cowardice against Hector, the Trojan prince responds that he is never a coward unless Zeus makes him one (17.201). On another occasion, an Achaean soldier states: “but all lies in the lap of the great gods, I’ll fling a spear myself and leave the rest to the Zeus (17.587). The deterministic quality of the Iliad usually opens it to criticisms of being flat and without a true human drama. For example, to what degree may Hector be held culpable for his actions when he is acted upon so often by the gods? We raised a similar question with Helen earlier in the epic. Books seventeen, however, also reminds us that man bears a certain receptivity to the divine and an arguable co-authorship over his own actions. We see that even though Zeus may favor the Trojans for an advance, Achaean fortitude an

Dcn. Harrison Garlick and Adam Minihan discuss Book 16 of the Iliad: Patroclus Fights and Dies. Summary of Book 16What is the difference between Zeus and Fate?What is the relation of Fate to the free will of men?Did Patroclus deserve his fate?Check our GUIDE ON THE ILIAD. 70.      What happens in books sixteen? Patroclus returns to Achilles and begs Achilles to send him out to fight in Achilles’ armor (16.43). Homer writes: “So [Patroclus] pleaded, lost in his own great innocence, condemned to beg for his own death and brutal doom” (16.53). Achilles comes to understand his rage cannot last forever, but he recalls his promise not to fight until the “cries and carnage reached” his own ships (16.72). Thus, Achilles agrees and sends Patroclus with his armor and the Myrmidons to fight (16.74). However, Achilles tells Patroclus to only fight the Trojans off the Argive ships and not to pursue them back to Troy, because that may diminish his glory, the fame of Achilles (16.105). Homer notably invokes the Muses to help him sing about the burning of the Achaean ships (16.135). Ajax is unable to stop Hector and his men from setting the ship ablaze, and Achilles sees the flames and sends out Patroclus with the Myrmidons (16.151). The Trojan columns “buckle” upon seeing Patroclus who they believe is Achilles (16.328), as Patroclus bears all of Achilles’ war gear save his spear (16.168); thus, Patroclus and the Argives set upon the Trojans like “ravenous wolves” upon lambs (16.415). Sarpedon, son of Zeus, is slain by Patroclus (16.570), and Glaucus, strengthened by Apollo, rallies his fellow Trojans to secure Sarpedon’s body (16.631). Similarly, Patroclus rallies Ajax and the Argives to the body of Sarpedon, the first to storm the Argive wall (16.653), to “mutilate him, shame him, [and] tear his gear from his back” (16.653). Thus, the body of Sarpedon, son of Zeus, becomes lost under the “mass of weapons, blood, and dust” (16.743). Zeus makes Hector a coward, and the Trojan prince calls for a retreat (16.763). The Achaeans win the body of Sarpedon, but Zeus sends Apollo to rescue the body before it can be mutilated (16.777). Patroclus, not heeding the command of Achilles, pushes his assault onward toward Troy (16.803). Apollo repels Patroclus’ assaults on Troy and warns the warrior that it is “not the will of fate” that Troy falls to him (16.826). Though Apollo strengthens Hector (16.840), Patroclus still presses forward but Apollo sneaks behind him and slams Patroclus to the ground with a slap across the back (16.920). Disoriented, Patroclus is then stabbed in the back by Euphorbus, a Trojan (16.938), who then retreats. Hector then runs forward and spears Patroclus in the gut—the “brazen point went jutting straight out through Patroclus’ back” (16.967). Hector taunts the dying Patroclus (16.967), and Patroclus dies prophesying that Hector will die soon (16.998).[1] The last word of Patroclus is “Achilles” (16.1000). 71.      What do we observe about Zeus and the nameless fate in book sixteen? We see Zeus lament his “cruel fate” in his son, Sarpedon, having to die to bring about the death of Patroclus (16.514). Knox holds this shows the “will of Zeus is thwarted by fate.”[2] He writes that the “will of Zeus” and this “nameless destiny” are “irreconcilables” held in “coexistence.”[3] He sees in this the nascent discussion in the Western tradition to “embrace the logical contradiction of freedom and order combined.”[4] Many will note that both Zeus and Hera seem to assume that Zeus could change Sarpedon’s “doom sealed long ago” but that doing so would introduce chaos (16.524). The scene is reminiscent of Zeus holding out the golden scales in book eight (Question 46). Is fate simply an alter ego of Zeus, a manifestation of his will, or is Zeus truly subject in some way to the nameless fate? We should also recall that Zeus already showed himself vulnerable to the more primordial forces of Sleep and Love. It should be remembered that once Zeus gives his assent, he cannot change his decision; thus, his own will certainly manufactures a particular fate to which even he is bound. Note that just prior to Patroclus’ death we are told: “the Father’s spirit churning, thrashing out the ways, the numberless ways to cause Patroclus’ slaughter” (16.752). As Knox observes, “the idea of destiny, of what is fixed, is flexible.”[5] The question is whether Zeus is bound by and even an agent of a more cosmic, nameless fate. 72.      What observations may be made between fate and the will of men? Hector, who is acted upon often by the gods, occasions several examples in book sixteen of the dynamics between the will of man and the will of the gods. First, observe that upon the Achaean advance, Hector, who knows the tide has turned, “still stood firm, defending die-hard comrades” (16.428). Then Zeus sends cyclones to

Today we welcome Joshua Charles in the studio to talk about his new project Eternal Christendom, a preservation and revival of the Great Tradition for future generations. In this episode we will discuss:Wisdom from the Early Church FathersWho is Joshua Charles and hear his conversion storyHis political journey and how that has shaped his new projectWhat is Eternal Christendom and what is the visionSt. Augustine and true religionWant our whole guide to The Iliad? Download it for free.You can follow Joshua Charles on X and visit his website to find out more information.

Deacon Harrison Garlick welcomes Dr. Jessica Hooten Wilson to the podcast to discuss Book 15 of The Iliad, The Achaean Armies at Bay.In this episode we will discuss:What happens in book fifteen?What is the relationship between men and the will of the gods in book fifteen? What else should be noted in book fifteen?You can follow Dr. Jessica Hooten Wilson on X at @HootenWilsonWant our whole guide to The Iliad? Download it for free.67. What happens in book fifteen?Zeus, the father of gods and men, awakes to find the Trojans in full retreat (15.05). Poseidon is leading the Achaean charge, and Hector lays sprawled upon the ground (15.10). Zeus immediately blames Hera (15.18), and Hera denies any involvement with Poseidon’s actions (15.45). Zeus explains to Hera his plan in detail: Patroclus will fight, Hector will kill him, and Achilles will then kill Hector (15.80). The Achaeans will then push the assault until Troy falls (15.88). And Sarpedon—Zeus’ own son—will be sacrificed to bring about this fate (15.84). Zeus, via Hera, sends Iris to tell Poseidon to “quit the war and slaughter” and return to the sea (14.210). Poseidon eventually obeys (15.251). Zeus, via Hera, sends Apollo to rally the Trojans and gives Apollo his storm-shield (15.272). Apollo heals Hector and the two lead a Trojan assault against the Argives (15.302). The Achaeans panic (15.385) and “clambered back in a tangled mess” (15.405). Meanwhile, Patroclus was still tending to the wounded Eurypylus when the new Trojan assault spurs him to return to Achilles (15.470). Giant Ajax forms a phalanx, a “wall of bronze,” to stop Hector from burning the Achaean ships (15.657). The defense fails, yet Giant Ajax carries on jumping from ship to ship with an “enormous polished pike for fights at sea” (15.787). Hector calls for fire to burn the ships (15.832), and the book ends with Ajax fighting off the hordes—having “impaled” twelve Trojans thus far (15.866). 68. What is the relation between men and the will of the gods in book fifteen?A predominant theme in Homer and a perennial question throughout many of the great books is the relationship between the human will and the divine. In book fifteen, Thoas, an Achaean, is able to discern Zeus is favoring Hector; thus, he counsels Giant Ajax to call a “withdraw to the ships” (15.349). We receive yet another example of interpreting what should be done by reading the will of the gods in earthly affairs. Homer provides us a unique example of interpreting the divine will when Zeus lets loose a crack of thunder in response to Nestor’s prayer—but the Trojans interpret it in favor of them (15.445). In fact, Hector tells us it is “easy to see what help Zeus lends to mortals” (15.570). Homer invites us to consider what irony Hector’s statement bears by revealing later that as Zeus glorifies Hector, Athena is already preparing his death (15.712). On the matter of burning the Achaean ships, Hector himself acknowledges that at times Zeus “blinds” men to a certain purpose and then later “drives” them to it (15.840). How men are supposed to know what the gods will for them—amongst such capricious gods or gods that disagree with each other—is a question raised by Homer and later taken up by Plato. 69. What else should we observe in book fifteen?The story of Zeus stringing up Hera with two anvils hanging from her legs (15.24) is the same story referenced in the first book in which Zeus throws Hephaestus—who had tried to help his mother—off Mount Olympus (Question 13). The details Zeus provides of his plan to orchestrate Achilles’ glory and the fall of Troy is a more detailed version of the earlier “doom of Zeus” (8.551). Homer introduces us to the goddess “Themis,” who represents “established law and custom” (15.117). As observed earlier (Question 31), we are provided another example of Ares representing rage and impudence, while Athena tempers him by wisdom and good counsel—and a bit of strength (15.140). Athena’s observation, however, that Zeus’ rage would consume both guilty and innocent gods alike is reminiscent of Patroclus’ observation that Achilles’ rage would cause him to accuse a friend without fault (Question 56). One may ponder in what ways Zeus and Achilles are similar. One is left to wonder what change occurred in Poseidon, as he shifted from one who told Hera he would not war against Zeus (8.239) to one who boasts to Iris he is a peer of Zeus (15.222)—though the sea god does acquiesce to Zeus’ command (15.251). The importance of a shield is a theme for Homer, and here we see clearly that bearing the shield of another makes you an emissary of the owner—as Apollo is for Zeus (15.272). It is somewhat notable that Prince Paris actually uses a spear (15.401). Observe that Apollo, who is quite eager to tear down what remains of the Achaean rampart (Question 59), uses the opportunity of leading the Trojan charge to do a bit of just that (15.425). Once again, Hector would have died save for

Deacon Harrison Garlick and Adam Minihan welcome Thomas Lackey back to the podcast to discuss Book 14 of The Iliad, Hera Outflanks ZeusIn this episode we will discuss:What happens in book fourteen?What are we to make of Love and Sleep conquering Zeus?Why is this one of the funniest books thus far (according to Adam)?What else should be noted in book fourteen?Want our whole guide to The Iliad? Download it for free.Book FourteenHera Outflanks ZeusAnd so, deep in peace, the Father slept on Gargaron peak,Conquered by Sleep and the strong assault of Love.  Homer (14.419)64. What happens in book fourteen?Nestor, who was still tending to the injured Machaon, leaves his tent and, upon seeing the ruined wall of the Achaeans, goes to find Agamemnon (14.27). Nestor finds the wounded Agamemnon alongside the also wounded Odysseus and Diomedes (14.34). Agamemnon again despairs and orders the Achaean to prepare to sail home (14.90), and he is chastised by Odysseus who calls him a “disaster” (14.102). Diomedes counsels the wounded kings to return to battle but inspire the soldiers from behind the front lines (14.158). Poseidon inspires Agamemnon and the sea god lets out a cry as loud as “nine, ten thousand combat soldiers” to strengthen the Achaeans (14.182). Meanwhile, Hera, wanting to run interference for Poseidon, plots “to make immortal love” with Zeus and lure him into a deep sleep (14.199). She lies to Aphrodite about her motives, and receives from the goddess of love a band with the power to “make the sanest man go mad” (14.261). Hera next enlists the god Sleep to help her overpower Zeus (14.279) by promising him one of the younger Graces to marry (14.323). Hera seduces Zeus, and the father of gods and men is conquered by love and sleep (14.420). Sleep tells Poseidon of Zeus’ slumber, and the sea god leads the Achaeans against the Trojans (14.430, 456). Ajax and Hector clash on the front lines, and Ajax lifts a “holding-stone”—a large stone used to anchor a ship—and strikes Hector (14.486). Hector “plunged in the dust” (14.494) and was taken back to Troy by his comrades (14.509). The retreat of Hector rises the Achaean battle-lust (14.520), and they push back against the Trojans until “the knees of every Trojan shook with fear” (14.592). Homer ends the book with an invocation to the Muses—the 5th invocation—as Poseidon shifts the favor of war to the Achaeans (14.596). 65. What are we to make of Love and Sleep conquering Zeus?To overcome Zeus, the father of gods and men, Hera must employ two powers: Love and Sleep. Hera avers that Love may “overwhelm all gods and mortal men” (14.242). Moreover, in the band of Love that Aphrodite gives Hera, it is said “the world lies in its weaving” (14.265). Similarly, Hera calls Sleep, the “twin brother of Death,” the “master of all gods and all mortal men” (14.279). She makes a similar statement about Night, stating: “old Night that can overpower all gods and mortal men” (14.312). Homer explicitly tells us that Zeus was “conquered by Sleep and the strong assaults of Love” (14.420). The conquering of Zeus raises questions as to the power and role of these more primordial gods. Homer does not present his reader with a clear relation or history between these personifications of primal power and the Olympian gods; however, the Greek poet Hesiod, who lived after Homer in the 700s BC, composed a genealogy of the gods called Theogony. Though he lived after Homer, Hesiod, like Homer, is weaving together longstanding traditions in Greek mythology into one coherent whole. For Hesiod, the world starts with the primordial gods of Chaos, then Earth (Gaia), then Abyss (Tartarus), and then Love (Eros). Pertinent to our passage in Homer, Chaos gives birth to Night, and then Night gives birth to Doom, Fate, Death, Sleep, and Dreams. The mythologies of Homer and Hesiod do not always agree. For example, Homer presents Aphrodite with a mother, while Hesiod presents her as a spontaneous generation of Uranus’ genitals being tossed into the sea by Cronos. Regardless, Hesiod provides a critical insight into the more primordial gods of Love and Sleep in relation to gods of Mount Olympus. One may posit, however, that Zeus is not conquered, as his will endures despite the efforts of Hera, Love, and Sleep. On the contrary, one may suggest that the fall of Zeus to Love and Sleep reveals that Zeus is in a manner subject to the more primordial gods and this would include Fate. We return to the question of whether Zeus is subject to a nameless Fate or such a Fate is simply an alter ego of his (Question 46). 66. What else should be noted in book fourteen?It is noteworthy that Nestor must use his son’s shield, as his “boy used his father’s” (14.12). Such familial themes will become more prominent in Homer’s Odyssey. We should note Poseidon is now doing what Hera tempted him to do previously (8.239). One may observe that Hera convinces Sleep to aid her by offering him a love-interest w

Deacon Harrison Garlick and Adam Minihan welcome Thomas Lackey back to the podcast to discuss Book 13 of The Iliad, Battling for the ShipsIn this episode we will discuss:What happens in book thirteen?How does the story of Asius end?Why Adam is frustrated with this book and why it's Dcn. Garlick's least favorite so far.What else should be noted in book thirteen?Want our whole guide to The Iliad? Download it for free.Zeus, Father Zeus, they say you excel all others… all men and gods, in wisdom clear and call—but all this brutal carnage comes from you. - King Menelaus (13.727)64. What happens in book thirteen?Father Zeus, believing that the deathless gods will not violate his strict decree to not interfere with the Trojan war, turns his attention “a world away to the land of the Thracian horsemen” (13.06). Poseidon seizes this opportunity to help the Achaeans. He blesses the Aeantes (13.74) and whips up the fighting strength of the whole Argive army (13.112). Battalions are formed around the Aeantes, and they war against Hector and his Trojans (13.149). Meanwhile, the two Achaeans, Idomeneus and Meriones, rush to the left flank where the Argives are suffering the most (13.363, 80). Poseidon continues to secretly war against the will of Zeus by spurring on the Achaeans against the Trojans (13.408). Idomeneus, the Achaean, crushes the Trojan Asius (13.452) and Alcathous (13.512) on the left flank. In return, Aeneas, the son of Aphrodite, arrives to bolster the Trojans and both sides clash around the corpse of the Trojan Alcathous (13.575). Menelaus, the Spartan King, squares off with Helenus, the Trojan prophet (13.672). Helenus’ arrow bounces off the Achaean war-lord’s breastplate (13.679), but Menelaus’ spear goes through Helenus’ first (13.686)—and his Trojan campions drag him away from the battlefield for care (13.687). While the Argives hold the left flank, Hector, favored by Zeus, continues to collide against the Achaeans, blessed by Poseidon, back where Hector smashed the gate (13.785). Polydamas advises Hector to regroup, warning Hector that he has been blessed to fighting power but not necessarily in tactics (13.841). Hector listens, and he goes to recall his warlords (13.873). Hector finds Paris and the carnage that the Trojans suffered on the left flank (13.884). The two princes rejoin the main force at the broken gate, but the Achaeans are immovable under the leadership of giant Ajax (13.935). Ajax taunts Hector that the Trojans will be forced to retreat soon, and a bird-omen appears to confirm his words (13.948). Hector returns the taunt, and both sides prepare for another Trojan charge (13.951). 65. How does the story of Asius end?We met Asius charging his chariot into the Achaean wall and—as the attempt fails—calling Zeus a liar (Question 60). In book thirteen, Idomeneus spears Asius in the throat with the tip “ripping” through the nape of his neck (13.450). Later, Asius’ son, Adamas, is speared by Meriones “between the genitals and the naval—[a] hideous wound, the worst the god of battles deals to wretched men” (13.657). Homer describes him as “hugging the shaft he writhed, gasping, shuddering (13.660). Given the manner of their deaths, one is left inclined that Asius has brought the doom of Zeus upon himself by his own words. 66. What else should be noted in book thirteen?Despite his prowess on the battlefield, it is notable that giant Ajax does not immediately recognize Poseidon in the guise of Calchas (13.85). Poseidon calls Achilles a “worthless coward.” (13.139). Homer presents another good description of the phalanx (13.154). Teucer, an archer thus far, is shown to successfully use a spear (13.211). One may question whether the brutality of the war is increasing, as we see little Ajax toss the head of a dead Trojan at the feet of Hector (13.242). We see another practical import of stripping the bodies of their loot, as Meriones is able to replace his broken spear with one of the many Trojan spears stored by Idomeneus (13.309). One recalls the marriage offer of Agamemnon’s daughter to Achilles, as Idomeneus offers Agamemnon’s “loveliest daughter” in sarcasm to the dead Othryoneus (13.422). Homer presents a comparison between Ares who is aloof and unaware his son has even died (13.602) with Poseidon who actively aids the Achaeans, like Antilochus (13.642). Menelaus, like his brother (9.142), understands that the present “brutal carnage” comes from Zeus, and that Zeus is favoring the Trojans (13.729). We are introduced to the Achaean Euchenor who, like Achilles, was able to choose his fate: die fighting at Troy or die of a plague at home (13.764). Finally, it is not unremarkable that Homer uses the imagery of storm pounding the seas to describe the Trojans—backed by the storm god, Zeus—clashing against the Achaeans—backed by the sea god, Poseidon (13.920). 

Deacon Harrison Garlick and Adam Minihan welcome Thomas Lackey and David Niles to discuss Book 12 of The Iliad, The Trojans Storm the Rampart.In this episode we will discuss:Our Sunday Great Books group.What is the issue with the gods and the wall of the Achaeans?What should we make of the story of Asius?What should we make of Hector disregarding the bird-sign?What else should be observed in book 12?Want our whole guide to The Iliad? Download it for free.Bird-signs! Fight for your country—that is the best, the only omen! - Hector (12.280)58. What happens in book twelve? As many of the Achaean warlords lay injured, Hector leads his onslaught against the Greek defenses (12.05). The Achaean ships are surrounded by a rampart, a thick wood wall, with a wide trench in front (12.05). The Trojan Polydamas advises Hector that the sharp stakes in the trench and narrowness of openings in the rampart make chariot-warfare impossible (12.72). The Trojans dismount and break into five battalions to assault the Achaean wall (12.105). Hector leads the charge against the rampart, as Zeus whips up a dust storm to aid the Trojan siege (12.292). The Achaeans have blocked the rampart gates with “ox-hide shields,” (12.305), they have gathered heavy stones to crush their enemies (12.438), and they have the two Aeantes, i.e., Giant and Little Ajax, helping to defend the wall (12.307). Sarpedon, driven by his father, Zeus, leads his Trojan battalion against the rampart (12.340). Homer writes: “And Sarpedon clawing the rampart now with powerful hands, wrenched hard and the whole wall came away, planks and all” (12.460). He “made a gaping breach for hundreds” (12.463). The Achaean archer Teucer hits Sarpedon with an arrow, but Zeus ensures it is not a fatal hit (12.467). The armies crash with neither gaining ground (12.485) until Zeus gives Hector the glory (12.507). Hector lifts a boulder no two men could easily lift (12.519) and, amongst the chaos of the clashing forces, throws the boulder at the Achaean gate (12.532). The gate shatters, and Hector “bursts through in glory” (12.537). He cries, “the wall, storm the wall!” (12.544) The book ends as the Trojans swarm through the wall and the Argives “scatter back in terror” (12.547).59. What is the issue with the gods and the wall of the Achaeans?The opening of the book returns to the fact the Achaeans did not give the deathless gods their due sacrifice when they made their rampart (12.07). Recall that Poseidon and Apollo, who helped build the Trojan walls (Question 42), are offended that the Achaean walls may receive more glory. Homer then shifts into the future when Troy has fallen and tells us that Poseidon and Apollo (with some help from Zeus) will destroy the Achaean wall and set everything right (12.41). The Achaeans forgetting to exercise their proper piety toward the gods and thus omitting a due sacrifice is a poor habit that should be noted for future reference. 60. What should we make of the story of Asius?Homer gives us the curious narrative of Asius, a Trojan ally and leader, who refuses to leave his chariot when all the other Trojans form into battalions to assault the Achaean wall (12.132). As Homer writes: “Straight at the gates he lashed his team, hell-bent, his troops crowding behind him shouting war cries” (12.146). The assault fails. Asius calls Zeus a liar—presumably because he knew that Zeus had given the Trojans the glory but did not think that only two Achaeans—the “lionhearted of Lapith”—could hold the gate (12.153). The error of Asius seems twofold: first, breaking ranks with Hector, favored by Zeus; and two, presuming that the glory of being the first to breach the wall was attainable and not one reserved by Zeus for Hector (12.507). His tactical error is, at heart, a theological one: an inability to read the gods well. 61. What should we make of Hector disregarding the bird-sign? After the folly of Asius but before the Trojan battalions assault the wall, the Trojans see another bird-sign, an omen (12.231). The Trojan Polydamas warns the omen is a sign from Zeus not to engage the Argives at their ships—and if they do, the Argives will slaughter the Trojans all the way back to the walls of Troy (12.249). Hector provides a somewhat famous response: “Bird-signs! Fight for your country—that is the best, the only omen!” (12.280) One may compare his response to his earlier unquestioning obedience to the bird-sign that recalled him to Troy to arrange a sacrifice to Athena (Question 35). Any perspective here that attempts to present Hector as trusting in the power of men over the gods (i.e., human capacity over superstition) seems unsupported by the text. Note that Hector disregards the bird-sign as an omen from Zeus, because he believes he knows the will of Zeus (12.272). No doubt this is a reference to the message from Iris in book eleven (11.217). In sum, Hector tells Polydamas to not be a coward and trust “in the will of might Zeus” (1

Deacon Harrison Garlick and Adam Minihan sit down to talk about Book 11 of the Iliad, Agamemnon's Day of Glory.In this episode we will discuss:What happens in Book 11?What should be noted about Patroclus?What should be noted about Peleus' command to Patroclus?What else should be observed in book 11?Want our whole guide to The Iliad? Download it for free.Achilles will listen to you—for his own good. So the old man told you. You’ve forgotten. - Nestor to Patroclus (11.943)55. What happens in book eleven?Dawn has finally arisen from her bed (11.01). To welcome the new day, Zeus sends the goddess Strife to the Achaean camp (11.03), and the goddess releases a “high-pitched cry, great and terrible” that drives the Achaeans “mad for war and struggle” (11.14). Agamemnon rallies the Achaeans and Hector the Trojans, as Zeus rains blood from the sky (11.62) and Strife continues her “wild groans” (11.84). Following Diomedes advice to fight on the front lines (9.865), Agamemnon leads the Argives on a bloody warpath against the Trojans (11.107). Agamemnon slaughters his enemies—including one Trojan who Agamemnon cuts off his head and arms and, as Homer says, sends him “rolling through the carnage like a log” (11.170). Zeus sends Iris to tell Hector to stay off the front lines and command his men from the back until Agamemnon is wounded—then Zeus will bless Hector to lead a counteroffensive all the way back to the Achaean ships (11.217). After Agamemnon is wounded and retreats (11.310), Hector pushes the Achaeans all the way back to their rampart (11.330). One by one the Achaean warlords—Diomedes (11.443), Odysseus (11.515), and Machaon the healer (11.598)—are all injured and retreat. Great Ajax desires to hold his ground but is forced to retreat by Zeus (11.638). Still by his ship, Achilles watches the onslaught and tells Patroclus he thinks the Achaeans are ready to “grovel at his knees” (11.719). Achilles sends Patroclus to Nestor for advice (11.722), and Nestor tells Patroclus that Achilles should at least let Patroclus lead the Myrmidons into battle wearing Achilles’ armor (11.951). Patroclus leaves to return to Achilles but stops to assist an Achaean suffering from an arrow wound (11.1001). The book ends with Patroclus caring for his fellow solider, and the foretold “doom of Zeus” about the body of Patroclus inches closer (8.551).56. What else should be noted about Patroclus?Of important note is how Patroclus speaks of Achilles to Nestor (11.773). He states that Achilles is a “great and terrible man” and would “leap to accuse a friend without fault” (11.774). It is not the language one would expect from Patroclus, the “great friend” of Achilles (Question 49). We are told that Nestor was part of the group of Achaeans who went to the house of Peleus seeking recruits for the Trojan war (11.916). Peleus tells his son, Achilles, to “always be the best, my boy, the bravest, and hold your head up high above the others,” which is the exact same advice given the Glacus by his father except it lacks the exhortation to “never disgrace the generation of your fathers” (6.247). Whether Homer is inviting a comparison here is a matter of some discussion. We should note well Peleus’ command to Patroclus to counsel Achilles, and that Achilles will listen to him (11.940). Amongst all the rage of Achilles, we have little evidence of Patroclus playing the role of counselor or attempting to diffuse the situation. Nestor critiques Patroclus that he has forgotten his role as counselor to Achilles (11.943). One may hold that Achilles sitting by his ships as the Achaeans are slaughtered is evidence, at least in part, of the failed mission of Patroclus.57. What else should be observed in book eleven? One might expect that Hector would balk a bit at being told to stay off the from lines (11.237), but he does not despite his habit of leading from the front. We could attribute this to his piety toward the gods, especially Zeus, or more critical voices would recall that he’s slunk to the back before (5.540). It is most notable that Homer invokes the Muses again (11.253). This fourth invocation seems to illuminate the importance of Agamemnon leading the charge against the Trojans. We may observe that Hector is once again saved by the gods, as Diomedes’ spear hits him in the head but does not penetrate his helmet (11.414, 427). Paris stays true to his character, as he first gloats over shooting Diomedes in the foot—after leaping out of his “hiding place” (11.446)—and then shoots the Achaean healer, Machaon (11.598). It should be noted that Odysseus, who has been criticized in the past for strategically holding back, is left alone against the Trojans, and he holds his ground well like a “wild boar” against a circle of hunters (11.473, 491). Hector, despite knowing he has the favor of Zeus, stays away from Giant Ajax (11.638)—apparently still wary from their last duel (Question 41). Old man Nestor, who is the link to an older more

Deacon Harrison Garlick and Adam Minihan sit down to talk about Book 10 of the Iliad, Marauding Through the Night.In this episode we will discuss:What happens in Book 10?Hector calls for a spy.Diomedes goes on a rampageWhat else should be observed in book 10?Want our whole guide to The Iliad? Download it for free.53. What happens in book ten?Agamemnon cannot sleep (9.04). He is tormented by the thousand fires of the Trojans camped around his black ships (10.14), and he tears “his hair out by the roots” (10.18). He dresses for war and leaves his tent—only to run into his brother, Menelaus, who is also unsettled (10.30). Menelaus gives Agamemnon the idea of sending out spies against the Trojans (10.45). After waking the other Achaean warlords, Agamemnon holds a war council in which Nestor proposes someone should infiltrate the Trojans (10.241). Diomedes volunteers and selects Odysseus to go with him (10.284). Meanwhile, amongst the Trojans, Hector also calls for a spy, and the warrior Dolon, an ugly but fast fellow (10.369), agrees to go (10.366). In the black of night and out in the no man’s land between the armies, Odysseus sees Dolan running, and Odysseus and Diomedes hide amongst the corpses as Dolan goes past at a “dead run” (10.409). The two Achaeans capture Dolon who, in turn, blurts out every detail he knows about the Trojan encampment (10.478, 493) under the assumption he will be taken captive (10.511). Diomedes then decapitates Dolon and his “shrieking head went tumbling in the dust” (10.327). Odysseus and Diomedes elect to attack an outpost described by Dolon, a group of Thracian warriors in league with Troy (10.501, 535). Athena blesses Diomedes (10.557), and he slaughters thirteen Thracians in their sleep—including their king (10.571). Apollo wakes a Thracian who sounds the alarm, and Odysseus and Diomedes ride the slain king’s magnificent horses back to the Achaean camp (10.631). The book ends with Odysseus and Diomedes, now bathed and seated for a meal, pouring out a libation to Athena, the goddess who watches over them (10.670).54. What else should be observed in book ten?Agamemnon believes he and Menelaus should do the work of waking up the lesser warlords themselves (10.80); and, similarly, Diomedes notes that it is Nestor, not some younger solider, that has awakened him (10.195). One may interpret this to show the gravity of the situation and the ownership the higher Achaean warlords are exhibiting in this moment. Notice that Nestor unfairly critiques Menelaus for sleeping (10.134), and Agamemnon corrects Nestor but not without stating that Menelaus does tend toward inaction (10.139). Agamemnon’s critique of his brother seems contrary to the pattern we have observed of Menelaus being quick to volunteer for some danger and Agamemnon drawing him back. Given the role of archers in the Iliad, it is notable that Homer reveals that Odysseus carries a bow (10.304). In book ten (and eleven), Homer will utilize a great deal of animal similes and imagery. One may note that many of the characters in book ten bear an animal hide, e.g., Agamemnon’s lion hide (10.27), Menelaus’ leopard hide (10.34), Diomedes’ lion hide (10.209), and Dolon’s wolf pelt and weasel cap (10.390). One is left to discern what lesson, if any, Homer intends here. Finally, book ten shows a certain comradery between Diomedes and Odysseus who are both cared for by Athena. One could assert that the two Achaean reflect the two general traits of Athena: her military tactics in Odysseus and her raw martial prowess in Diomedes. It should be noted, however, that Odysseus will later show his military prowess, and Diomedes has already proven himself to be a counselor (i.e., his bookend speeches in book nine). We could debate the degrees of these traits in both men, but overall they both seems to reflect the primary aspects of the goddess of wisdom.

Deacon Harrison Garlick and Adam Minihan sit down to talk about the embassy to Achilles in Book 9.In this episode we will discuss:What happens in book nine?Who is Phoenix?What is the relationship between Achilles and Patroclus?What effect does the embassy have on Achilles?What else should be noted in the embassy to Achilles?Want our whole guide to The Iliad? Download it for free.Book NineThe Embassy to AchillesBut now at last, stop, Achilles—let your heart-devouring anger go!Odysseus (9.307)47. What happens in book nine?Night has fallen. As the Trojans set their watch, the Achaeans are distraught and panicked (9.02). King Agamemnon despairs and tells his men to sail home (9.31). After a long silence, Diomedes tells Agamemnon to “sail away” (9.49), but Diomedes and company will stay and fight until the “fixed doom of Troy” occurs (9.56). Nestor, the old Achaean war chief, exhorts Agamemnon to have the night sentries take their posts (9.76) and to throw a feast of “grand hospitality” for his senior chieftains (9.80). Agamemnon obeys and, at the feast, Nestor appeals to Agamemnon to make peace with Achilles (9.122). Agamemnon again follows Nestor’s lead. He sends Odysseus, Ajax, and Phoenix (9.201) with the promise that Agamemnon will return Briseis to Achilles along with hordes of treasure and more treasure to come when Troy falls (9.146).The embassy finds Achilles playing the lyre by his ships (9.222). Achilles greets them warmly and each member of delegation attempts to convince Achilles to return to the war and save the Argives. But Achilles still harbors an undying rage against Agamemnon, stating: “I hate that man like the very Gates of Death” (9.379). Agamemnon has wounded the honor of Achilles and no gifts can undo that fact (9.470). Achilles even tells Odysseus that Agamemnon can keep and enjoy Briseis (9.407). The heart of Achilles “still heaves with rage” (9.789), and he will not even think of “arming for bloody war again” until Hector has slaughtered the Argives all the way to his own ship (9.795). The embassy reports back to Agamemnon and, as they were all “struck dumb,” Diomedes rallies the chieftains and tells Agamemnon to fight on the front lines tomorrow (9.865). The Achaeans, who are stirred by the speech, make their offerings to Zeus and go to sleep awaiting the dawn (9.866).48. Who is Phoenix? Phoenix, an Achaean, was charged by Peleus, Achilles’ father, to train Achilles in war and rhetoric (9.533). Regarding his own background, Phoenix tells the story of sleeping with his father’s concubine, at his mother’s request, and his father finding out (9.549). Phoenix runs away from home, and Peleus welcomes him into his home as a son (9.583). One may observe the similarity that Phoenix’s past and Achilles’ present both hinge on a concubine or slave-girl. Phoenix claims to Achilles: “I made you what you are—strong as the gods… I loved you from the heart” (9.587). He expresses his love for Achilles, as a man who knew he’d never have his own son (9.595). In fact, he leverages this into an argument stating: “I made you my son, I tried, so someday you might fight disaster off my back” (9.600). He then gives an explanation of the Prayers of Zeus, personified, who “heal the wounds of mankind” (6.117). The explicit appeal to family and then to the gods (to save his people) invites another comparison between Achilles and Hector—whose piety toward family, polis, and the gods was on display in book six. Phoenix’s appeal to the ancient story of Meleager is such a close parallel to Achilles’ current situation that it is believed to be a Homeric invention (9.646). Despite his appeal that the Achaeans will honor Achilles “like a god” (9.734), Achilles only sees Phoenix as currying favor of Agamemnon (9.748). Though he rejects his arguments, Achilles invites Phoenix to spend the night with him and discern leaving for home in the morning (9.755).49. What is the relationship between Achilles and Patroclus? Homer presents Patroclus as the “great friend” of Achilles (9.246). Similar to Phoenix, Patroclus was a runaway who found refuge in the house of King Peleus, Achilles’ father. Peleus assigned Patroclus as the personal attendant to the slightly younger Achilles, and this subservient relation between the “great friends” is notable in book nine (9.242, 246, 263, et al.). Homer does not at any point, however, present Achilles and Patroclus as homosexual lovers. It is a popular modern read of the text, but such a read cannot be reduced to simply a modern ideological rewrite—the idea that Achilles and Patroclus are homosexuals is an ancient one. Though completely absent from Homer, the idea that Achilles and Patroclus were lovers was popular over four hundred years after Homer in the classical Greek era. In that time, homosexuality and pederasty had become popular amongst the aristocratic class in Greece. The playwright Aeschylus (c. 525 B.C.) wrote a play, now lost, that presented the two Achaeans as homosex

Deacon Harrison Garlick and Adam Minihan sit down to talk about the tide of battle turns in Book 8.In this episode we will discuss:What happens in book eight?Do the Achaeans actually need Achillies?What is the relationship between Athena and Zeus?What else should be observed in book eight?Want our whole guide to The Iliad? Download it for free.Book EightThe Tide of Battle TurnsMany attempts have been made to reconcile these two ideas, to assert the overriding power of Zeus’s will on the one hand, or that of a nameless destiny on the other. - Knox43. What happens in book eight?Zeus issues a new, “strict decree” that the gods are no longer to help the Achaeans or the Trojans in order that Zeus may “bring this violent business to an end” (8.08). The gods are in “stunned silence” when Athena acknowledges Father Zeus’ command but also provides the caveat that she’ll “simply offer the Argives tactics” (8.42). As the fighting begins anew, Zeus holds out his “sacred golden scales” of fate, and they show a “day of doom” for the Achaeans, the Greeks (8.85). Zeus makes known this judgment by letting loose his lightning and thunder against the Argives (8.89), and as they retreat, Nestor is left behind—because Prince Paris shoots his horse (8.97). Diomedes charges the front lines by himself and saves Nestor using the horses he took from Aeneas (8.116); but then he also decides to charge Troy alone in an attempt to kill Hector (8.129). Diomedes turns around, however, due to the advice of Nestor and the lightning and thunder of Zeus (8.163). Hector, bolstered by Zeus’ favor, leads Troy in an onslaught against the Argives (8.197). The goddess Hera, who is raging in Olympus, first tempts Poseidon to intervene against Zeus’ decree, but Poseidon wisely declines to fight Zeus (8.239). Hera inspires Agamemnon (8.250), the Achaean high chieftain inspires his men and cries out to Zeus for mercy (8.271). Zeus, moved by the weeping of Agamemnon (8.280), sends an eagle as an omen that the Argives may turn and fight (8.282). Zeus, however, favors the Trojans, and Hector leads an assault with eyes blazing like the war god, Ares (8.383, 398). Having failed to tempt Poseidon, Hera tempts Athena to intervene against Zeus’ decree, and Athena acquiesces and prepares for war (8.401). Zeus sends Iris, the messenger goddess, to Hera and Athena, and the two goddesses, not wanting to war with Zeus, call off their return to the battlefield (8.490). On Olympus, Zeus partially reveals his plan to Hera and Athena, the so-called “doom of Zeus” (8.551)—that there will be a battle over the body of Patroclus, friend of Achilles. Hector pushes the advance against the Greeks until nightfall, and the Trojans, the Achaeans, and the gods all wait for “Dawn to mount her glowing throne” (8.654). 44. Do the Achaeans actually need Achilles?The movement of book eight is largely structured by Zeus’ promise to Thetis—that the Trojans would prosper until King Agamemnon sees his need for Achilles (8.423). Often times, however, this is read as a self-fulfilling prophecy. In other words, that the lack of Achilles on the battlefield will inevitably lead to a Trojan advancement; yet, in contrast, it would seem that Homer presents a situation in which Zeus must bless the Trojans or the Argives will win even without Achilles. For example, examine the role of Diomedes. First, the Trojans have already stated they fear Diomedes more than they even did Achilles. Second, when Diomedes charges the Trojans to kill Hector while the rest Achaeans are in retreat (8.129), one would suspect this to be a death sentence carried out by the Trojans; yet, Zeus sends Diomedes one lightning strikes and three clashes of thunder to convince Diomedes not to engage the Trojans (8.192). Why does Zeus do this? One argument would be that it is for the benefit of Hector who, despite the current situation, will die to Diomedes—which would at least complicate Zeus’ dictate for a Trojan advance (4.83-84). Recall that Ajax arguably already bested Hector in a duel and would have died not for Apollo’s intervention (7.322). To unearth Homer’s intent, it seems worthwhile to engage the hypothetical of what would happen if Achilles refused to fight and the two armies were allowed to fight without divine interference. Simply because Achilles is the best warlord amongst the Achaeans does not mean he is necessary for their victory over Troy.45. What is the relationship between Athena and Zeus?Book eight provides another look into the intimate relationship between Athena and Zeus. At the end of book four, Ares tells us that Athena sprung from the head of Zeus, and that Zeus greatly favors her. That favored relationship, however, is in conflict in book eight. Athena states: “Zeus hates me now. He fulfills the plans of Thetis” (8.423). Yet, she states, “but the day will come when Father, well I know, calls me his darling gray-eyed girl again” (8.427). Even when she prepares for war against the Fathe

Deacon Harrison Garlick and Adam Minihan sit down to talk about the duel between Ajax and Hector in Book 7.In this episode we will discuss:What happens in book 7?What does Nestor, the old Achaean war chief, say to Hector?The duel between Ajax and Hector.How the end of book seven introduces the reader to the importance of burying the dead.What happens in book seven?Hector and Paris lead the “rampaging Trojans” on a counteroffensive against the Achaeans (7.19). Athena goes to intervene, but Apollo convinces her to “halt the war and the heat of combat now” to presumably save the Trojans from Athena’s wrath (7.34). To do this, Athena inspires Helenus, one of the fifty sons of Priam, that the gods have commanded that Hector challenge the bravest Achaean to single combat (7.58). Hector makes the challenge, and it should be noted that the victor can retain the war gear of the deceased—but the body of the loser will be given back to his people for full burial rites (7.92). Homer says a “hushed silence went through the Achaean ranks, ashamed to refuse, afraid to take his challenges” (7.106). Menelaus stands to take the challenge, but his brother, Agamemnon, talks him down—one may once again ponder whether Agamemnon cares more for his brother or cares more that Menelaus’ death might demotivate the Achaeans and end the Trojan war. Nestor, the old Achaean war chief, gives an oration on how if he was younger he would best Hector and taunts his “spineless” comrades (7.183). Nine Achaeans respond to the challenge and enter a lottery to see who fate selects (7.202). Giant Ajax is selected and his heart is filled with joy (7.220). Ajax and Hector duel, and Ajax arguably has the better of Hector who must be assisted by Apollo—but the duel ends at a draw due to nightfall (7.322). Both sides then separately come to the decision that the next day should have a break in the fighting in order that the dead may be given their ritual burials (7.380, 432). The parties make an oath to this effect (7.476) and bury their dead.42. What else should we observe in book seven?We continue to track the theme of fate. Apollo speaks of the “fixed doom of Troy” (7.35), and Hector, when speaking to the Achaeans, says Zeus could give the victory to either side (7.80). It is interesting that Ajax at first wants his comrades to pray but not out loud (7.224)—presumably so their prayers are not construed as him or the Achaeans being afraid (7.226). Attention should be given to the Trojan Antenor who both declares that Troy, having broken the truce, “fight as outlaws,” and recommends they give back Helen and all her treasures (7.400). His statement on the truce to his fellow Trojans is much more direct than Hector’s statement to the Achaeans blaming Zeus (7.80). Paris refuses to offer Helen but agrees to offer the treasure—it is notable that Priam, who agrees not to offer Helen, blames Paris “who caused our long hard campaign” (7.430). Compare his statement to when he told Helen it was the fault of the gods (Question 23). We should ponder to what degree these statements are contradictory to each other. Remember when messengers repeat lines, Homer uses these opportunities to add a gloss (or an omission). Here, the Trojan messenger for Priam to the Achaeans adds that he wishes Paris would have drowned (7.450) and that Helen is the “lawful wife” of Menelaus (7.452). Another insight into the Trojan view of Paris.The end of book seven should be seen as introducing the reader to the importance of burying the dead—a theme that will take on central significance in the Iliad. Moreover, note that Poseidon laments that the Achaeans are building ramparts and an “enormous trench” (7.520). In other words, the Achaeans are building military defenses under the guise of building burial mounds for the dead. Poseidon, who is concerned the world will forget he and Apollo built the walls of Troy, is referencing the aforementioned myth of when Heracles sacked Troy (Question 33). The book ends with an insight into the Greek supply chain (7.540) and the notable juxtaposition of prayers to Father Zeus and Zeus plotting “fresh disaster” (7.551).

Deacon Harrison Garlick and Adam Minihan sit down to talk about Hector returning to Troy.In this episode we will discuss:What happens in book six?What should be noted in the duel between Glaucus and Diomedes?What may be noted in Helen's lament to Prince Hector?What lesson does Homer provide by Hector returning to Troy?Is Homer presenting Hector as a virtuous character?Book SixHector Returns to TroyAlways be the best, my boy, the bravest, and hold your head up high above the others. Never disgrace the generation of your fathers.Hippolochus to Glaucus, his son (6.247)35. What happens in book six of the Iliad?Pressed against an Achaean advance led by Ajax and Diomedes, Hector and Aeneas receive word of an omen from Helenus, son of Priam, the seer (6.88). The Trojan army is to hold the line, while Hector is to return to Troy and direct his mother, the queen of Troy, to arrange a sacrifice to Athena—a sacrifice to entice the goddess of wisdom to pity Troy and hold back Diomedes (6.102). Hector obeys and returns to the palace of Priam—a magnificent structure that houses the fifty sons and twelve daughters of King Priam (6.291). Hector tells Hecuba, his mother and queen of Troy, to perform the sacrifice (6.318). It is notable that she is to lay before Athena the robe she personally prizes the most, which illuminates the personal sacrifice being ask of her (6.323). Hecuba obeys, but Athena refuses to listen to the Trojan prayers (6.366). It is not unremarkable that Homer immediately follows Athena’s rejection with the introduction of Paris into the narrative (6.368). Hector chastises Paris—who has remained in his bedroom since his duel with Menelaus—and exhorts him to return to the war (6.383). Before returning to the war, Hector visits his wife, Andromache, and his son Scamandrius, who the Trojans affectionately call the “Lord of the City” (6.477). Hector then rendezvouses with his brother, Paris, and returns to fight the Achaeans (6.601).36. What should be noted in the duel between Glaucus and Diomedes?After we see Hector begins his return to Troy, we are introduced to the duel between Glaucus, the Trojan, and Diomedes, the Achaean (6.138). Diomedes, whom Homer gives the epithet usually reserved for Menelaus—“the lord of the war cry”—taunts his opponent but notably gives the caveat he will not fight a deathless god in disguise (6.148). He is still obedient to Athena’s command to not fight the gods—save Aphrodite (5.142). At first, Glaucus provides a somewhat nihilistic response, stating, in part, “like the generations of leaves, the lives of mortal men” (6.171). He then, however, begins his lineage with Sisyphus, “the wiliest man alive,” who is a prominent figure in Greek mythology (6.180). To wit, Sisyphus had a habit of wanting to outsmart the gods, and this resulted in him being damned to Hades to roll a stone up a hill (only to have it roll back down) for all eternity. His son, Glaucus (the great-grandfather of the Glaucus dueling Diomedes) decided to habituate his horses to eating “human flesh to make them fierce in battle.” For this horrific act, the gods ensured Glaucus was tossed from his chariot and devoured by his own horses. His son Bellerophon, who may have been sired by Poseidon instead, is a classic hero in Greek mythology. The narrative of Antea being unable to seduce Bellerophon but then blaming him for lusting after her (6.188) bears many similarities with the Hebrew story of Joseph and Potiphar’s wife (Gen 39:5-20). Bellerophon carries his own death sentence to Antea’s father, and the king of Lycia’s welcome to Bellerophon—nine days of feasting before asking him his business—recalls the importance of guest-friendship for the ancient Greeks (Question 24). The king attempts to comply with the letter by ordering Bellerophon to slay the Chimera—a part lion, part serpent, and part goat monster (6.212). Homer does not mention that Bellerophon had tamed the famous winged horse, Pegasus, and it was upon Pegasus that Bellerophon was able to slay the Chimera. Bellerophon had three children, and it is notable that the Trojan warrior Sarpedon (Question 33) is the son of Bellerophon’s daughter, Laodamia, and Zeus (6.233). Glaucus is the son of Bellerophon’s son, Hippolochus. The peace Diomedes makes with Glaucus is a testament to the resilient power of guest-friendship, even over generations (6.259). Why Zeus, in his providence, elects to steal Glaucus’ wits in the exchange of gifts is a matter of some debate (6.280).37. What may be noted in Helen’s lament to Prince Hector?As we track the culpability of Helen for absconding with Paris (Question 18, 22), we should give care to her short monologue to Hector when he comes to rouse Paris back to the war (6.406). Helen continues to show contrition and remorse, as she refers to herself as a “bitch” and a “whore” (6.408, 422). She also states, “I wish I had been the wife of a better man, someone alive to outrage,” which leaves Homer’s audience immedi

Deacon Harrison Garlick and Adam Minihan are joined by Grayson Quay. Grayson Quay Grayson Quay is a writer and News and Opinion Editor for the Daily Caller. He earned his M.A. from Georgetown University in 2019.Book FiveDiomedes Fights the GodsNow take heart, Diomedes, fight it out with the Trojans!Deep in your chest I’ve put your father’s strength.Athena (5.137)30. What happens in book five of the Iliad? Athena grants Diomedes, an Achaean, power to fight the Trojans (5.01) and convinces Ares, who has sided with the Trojans, to refrain from entering the fray (5.33). Diomedes is “smashing the Trojan lines before him” (5.105) when Pandarus, the Trojan who previously broke the truce by shooting Menelaus, shoots Diomedes (5.107). Diomedes is restored by Athena who tells him not to fight any of immortals save Aphrodite and grants him the ability to see the gods (5.142). Diomedes delivers a brutal death to Pandarus (5.321) and gravely wounds Aeneas (5.340). As she did for Paris, Aphrodite now attempts to whisk Aeneas, her son, away from his immanent death, but Diomedes spears the immortal goddess in the wrist (5.380). Apollo, who has to repel Diomedes several times, is able to rescue Aeneas and places a “phantom” Aeneas on the battlefield (5.517). Apollo convinces Ares to return to the fight on behalf of the Trojans (5.523). Sarpedon, son of Zeus, chides his fellow Trojan, prince Hector, for his lack of courage in the face of the onslaught of Diomedes (5.540), and Aeneas, having been tended to by the gods, returns to the battle (5.592). Hector and Ares push the Trojans forward, and Diomedes—who was given the gift to see the gods by Athena—warns his fellow Achaeans of the war god’s presence (5.694). Hera and Athena return to the field of battle, and Athena assists Diomedes in spearing the god of war (5.989). A wounded Ares returns to Olympus and, after a tirade against Athena to Zeus, is healed and then sits next to Zeus (5.1050). 31. Is Athena or Ares the actual god of war?The more robust presentation of Athena in book five challenges our preliminary understanding of Athena as the goddess of wisdom and Ares as the god of war. Note she arguably outwits Ares by having him refrain from fighting (5.33) while she continues to intervene (5.136). Zeus seemingly defers to both regarding war, as he tells the wounded Aphrodite that “Athena and blazing Ares will deal with all the bloodshed” (5.494). Athena’s role is not reducible to simply influencing warriors, as she has her own war-gear (5.841) and, after seeking Zeus’ blessing, Zeus states, “she’s the one—his match, a marvel at bringing Ares down in pain” (5.880). Athena outwits Ares and helps Diomedes spear him in the bowels (5.989). In contrast, Ares is a “maniac” and without a “sense of justice” (5.874). He is “born for disaster, double-dealing, lying two-faced god” (5.960). He a “butcher” (5.978). He is called the “war-god” (5.960), and his “lust for slaughter never dies” (5.997). In short, Homer presents Ares as a god of slaughter, violence, and chaos, while Athena retains her rationality in war—a goddess of tactics and strategy. One recalls here her affinity for Odysseus, the great tactician of the Achaeans.At the end of book five, Homer gives a comical juxtaposition of Ares and Athena. The war-god is racked with “self-pity” (5.1006) and “whining” to Zeus about Athena (5.1029). In the mouth of Ares, Homer provides one of the earliest accounts of Athena’s origin: she emerged from the head of Zeus (5.1017). The favor Zeus shows Athena, as described by Ares, is compared with the hatred Zeus shows to Ares, i.e., “You—I hate you most of all the Olympian gods” (5.1030). A statement reminiscent of Agamemnon to Achilles (1.208).32. What should we make of the obedience of Diomedes?Book five opens with Athena blessing Diomedes with power (5.01) and, after being shot by the archer Pandarus, Athena blesses Diomedes with the “strength of his father,” Tydeus (5.137). As such, Diomedes is often called “Tydides,” meaning “son of Tydeus.” Diomedes listens to Athena’s order to not engage the gods save Aphrodite (5.142)—though he arguably pushes the boundary by charging Apollo who was guarding the wounded Aeneas (5.495). One may observe that Aphrodite’s mother, Dione, comforts her daughter by describing the pain Diomedes’ wife will feel at his death—a fitting comfort for the goddess of love (5.465). Moreover, in her attempt to assuage her daughter, Dione tells Aphrodite of other times gods have suffered at the hands of mortals (5.431)—a series of tales that seem to have their sole origin in the Iliad.Diomedes withdraws the Achaeans when he sees it is Ares approaching their ranks (5.694). Upon Athena’s return, she chastises Diomedes as unworthy of his father, Tydeus, due to his retreat (5.920). Diomedes’ response, however, seems tempered, as he responds that he was being obedient to her order not engage an immortal save Aphrodite (5.944). Athena then calls him the

Deacon Harrison Garlick and Adam Minihan discuss Book 4 of the Iliad - The Truce Erupts in WarBook FourThe Truce Erupts in WarThe Iliad is a poem that lives and moves and has its being in war. Bernard Knox26. What happens in the fourth book of the Iliad?Zeus taunts Hera with possibly supporting the truce and ending the war (4.17). Amongst the bickering, Zeus reveals that he esteems Troy (Ilium) more than any other city, and its destruction is given to Hera by Zeus of his own free will (4.50-58). Moreover, Zeus’ jest of supporting the truce seems a bit of theatre given his promise to Thetis. Nonetheless, he sends Athena to do two things: first, ensure the Trojans break the truce; and second, that the Trojans “trample the Argives in their triumph” (4.83-84). Athena successfully tempts the Trojan archer Pandarus—who seems unable to perceive the goddess for who she is—into shooting Menelaus (4.145). Athena deflects the arrow into a non-mortal wound, and Agamemnon calls for the healer, Machaon, son of Asclepius, the god of medicine (4.223). With the truce broken by the Trojans with no observable attempt from Hector or anyone else to diffuse the situation, Agamemnon marshals his chieftains for war (4.257). The armies clash and various conflicts are recorded (4.517). The book ends with Apollo encouraging the Trojans, and Athena the Greeks (4.585, 596)—while the edict of Zeus for the Trojans to triumph, at least temporally, remains pending.27. Is the Iliad an accurate depiction of fighting in the Bronze Age?“The Iliad is a poem that lives and moves and has its being in war,” as Knox observes. The material of war is bronze. Iron, a rarity, makes an appearance as a precious gift later in the poem. Book four introduces the actual warfare, and we may observe that it presents as more individualistic than expected. It is less group tactics and strategies and more individual feats of skill and bravado. Moreover, rarely are the soldiers generic. The opponents are named and, later in the poem, entire backgrounds will be orated prior to the toss of a spear. In fact, at times, it will seem as if the entire war stops while opponents share genealogies and family histories before slaying one another. One may recall that Homer’s audience is an aristocratic class of Greeks whose ancestors fought in the Trojan war. It is in their interest to hear of the bravery (or cowardice) of their forefathers and their individual exploits. One could also compare these duels to another bronze age duel: David and Goliath. In addition to the duels, Homer will make it clear later in the work that the armies utilized a phalanx—“a disciplined line of overlapping shields” while striking out with spears. Another unique attribute of the warfare is the grasping for loot. The soldiers kill their opponents and then attempt to take the corpse and strip it of its armor and goods. Homer will develop the rationale behind this act, but, in short, to capture your opponent’s gear added to your glory (kleos).28. Who is Cronus?As Cronus (i.e., Cronos or Kronos) is referenced several times in book four. Who is he?Homer and the Ancient Greek poets tell us that in the beginning there was the world, Gaia, and the heavens, Uranus. The earth and the heavens came together and gave birth to the great and powerful Titans—and the chief titan, Cronos, waged war against his own father and killed him and ascended in power and ruled over the world.In turn, Cronos had children—the Olympian gods—but fearing his children would dethrone him, he ate them when they were born. Yet, at the birth of one of his sons, Cronos was tricked into swallowing a stone and the young male child, named Zeus, escaped and grew strong and bold until he led an assault against his own father and cast Cronos down—and Zeus, having defeated his own father, became the chief god of Mount Olympus. From his throne, Zeus used his power to live a life of adultery and manipulation.Moreover, Cronus’ Latin name is Saturn and is the namesake of Saturday. He is the father of both Zeus and Hera (4.69), and, though defeated, his name is generally used in an epithet for Zeus, i.e., “son of Cronus” (4.192). It is worth mentioning that the epithet for Cronus is quite similar to the “man of twists and turns” used for Odysseus (4.88).29. What else should be noted in book four?The depth of Hera’s hatred for Troy is displayed in her offering up the cities she loves for destruction (4.61). It is a hatred for which we continue to seek an origin. Along with the promise to Thetis, we should now hold in our minds the Trojans breaking their oath and that oath-breaking bears a curse backed by Zeus (4.180-91). One may judge Agamemnon’s lament for his brother’s impending death and whether it is his relation with Menelaus or his own reputation that is primary (4.192-211). As we continue to track the character of Odysseus, one may discern what is to be made of Agamemnon’s critique of Odysseus “cowering” and letting others engage

Deacon Harrison Garlick welcomes Dr. Karl Schudt to Ascend to discuss Book 3 of the Iliad - Helen Reviews the ChampionsIn this episode Dcn. Garlick and Dr. Karl Schudt will discuss:What happens in the third book of the Iliad?What is the story of Helen and Paris?What are Trojan politics concerning Helen and Paris?What is guest-friendship?What else should be noted in book 3?Book ThreeHelen Reviews the ChampionsParis’ spirit shook, backing into his friendly ranks he cringed from death…dreading Atrides—magnificent, brave Paris.Iliad 3.35, 4121. What happens in the third book of the Iliad?The Achaean and Trojan armies line up against one another, and Paris, son of Priam and brother of Hector, struts out and challenges the best of the Argives (i.e., the Achaeans) to single combat (3.21). Menelaus, King of Sparta, answers the call, and Paris, upon seeing Menelaus, “cringed from death” and hides back amongst the Trojans (3.36). Hector chastises Paris, and Paris then agrees to single combat against Menelaus (3.84). The “challenge of Paris” is issued and accepted with the terms being that Helen and her treasures go to the victor, and friendship will be sealed in blood between the Achaeans and the Trojans (3.105). King Agamemnon and King Priam seal the challenge with an oath and sacrifice to Zeus (3.129). When it is clear that Paris has lost the duel, Aphrodite swoops in and transports Paris to his “bedroom full of scent” (3.439). Aphrodite coerces Helen to go to Paris, and Helen, at the longings of Paris, makes love to him (3.460, 517). Meanwhile, Menelaus, Helen’s former (or actual) husband, is outside Troy “like a wild beast,” and his brother, Agamemnon, declares Menelaus the winner (3.527, 536). Helen and her treasures should go to Menelaus and the Achaeans; friendship should be bound in blood between Troy and the ancient Greeks; and the war should be over.22. What is the story of Helen and Paris?Homer continues to unravel slowly the narratives that brought about the Trojan war. As noted above (Question 18), Menelaus was now the king of Sparta and husband to Helen, daughter of Zeus. Paris and a contingency of Trojans visited Sparta and were welcomed warmly by Menelaus. Menelaus left his guests in good care to visit Crete, and in his absence Paris absconded with Helen to Troy. Given the oath secured by King Tyndareus (Question 18), Menelaus turned to all of ancient Greece to help him return Helen to Sparta. Homer presents several references to Helen departing with Paris: Paris “carried off a woman” (3.55); why Menelaus will not trust the oaths of the princes of Troy (3.129); Helen’s emotions for Menelaus, her “husband long ago” (3.169); and Paris’ own account of sweeping Helen away from the “lovely hills of Lacedaemon,” i.e., ancient Sparta (3.520). Notably, Homer introduces Helen in book three weaving a “growing web, a dark red folding robe” as a clear analogue of the war (3.151).23. What are Trojan politics concerning Helen and Paris? As book one revealed the complexities of Achaean politics, so too does book three reveal the internal politics of the Trojans. In short, almost no one likes Paris. After Paris hides from Menelaus, Hector chastises him saying, among other things, that it be better if Paris had never been born (3.45), he’s a “curse” to his father, and a “joy” to the enemies of Troy (3.57-8). Moreover, the people of Troy seem to want to give his new bride, Helen, back the Achaeans (3.191). Helen also laments that if she shares “that coward’s bed once more” the women of Troy scorn her (3.476). Helen later wishes Paris had died at the hands of Menelaus (3.500). She seemingly sleeps with Paris primarily out of fear of Aphrodite (3.486). When Menelaus is looking for Paris after Aphrodite swept him away, it is mentioned that no one in the Trojan army would help hide Paris (3.531). It is remarkable that despite the hatred everyone else shows Paris, King Priam of Troy explicitly tells Helen she is not to blame for the war (nor does he blame Paris) but rather blames the gods (3.199). What is Helen’s culpability for the war? Homer presents her as showing contrition for leaving Menelaus (3.218) and being forced into relations with Paris (3.460, 86). Such emotions would leave us with the initial impression that Helen sees herself as culpable for leaving Menelaus but is now coupled with Paris against her will by Aphrodite. Whether King Priam’s statement to Helen is a father’s inability to lay blame on his own son or a more penetrating insight than the rest of Trojans is left to be resolved. It is not unremarkable that Priam cannot stay and watch his son Paris duel Menelaus (3.360). The character of King Priam continues to unfold.24. What is guest-friendship?When Menelaus appeals to Zeus to help him crush Paris, he references, in part, that an example should be made of men who betray their host (3.412). An important concept amongst ancient Greece was what may be called guest-friendship—an unwrit

Deacon Harrison Garlick and Adam Minihan take a slow read of Book 2 of The Iliad. Adam is not sure about this book, but by the end of the discussion, Deacon Garlick has talked Adam off the ledge.Book TwoThe Great Gathering of ArmiesThe rage of kings is strong—they’re nursed by the gods, their honor comes from Zeus—they’re dear to Zeus, the god who rules the world.Odysseus (2.226)14. What happens in the second book of the Iliad?Having accepted the petition of Thetis, Zeus sends a “murderous dream” to Agamemnon imploring him to muster his army and attack Troy (2.07). It is notable that “Dream” is personified, as is the “Dawn,” as a goddess (2.57), and Rumor, as “Zeus’ crier” (2.109). Agamemnon receives the dream and shares it with his war council (2.63). The high king or chieftain of the Greeks then elects to test his men (2.86) and tells the army Zeus commands them to return to “Argos in disgrace” (2.129). The men rush to the ships to leave (2.174), but Hera sends Athena to intervene (2.183). Athena inspires Odysseus who in turn rouses the men to stay—reminding them of Calchas’ prophecy they would conquer Troy in the tenth year (2.386). Nestor, the oldest of the Achaean war lords, encourages the men to stay as well (2.398), and, notably, Agamemnon only thanks Nestor afterward (2.439). There is then a roll call of the Achaean kings (2.573). The book ends with a similar roll call for the Trojans, which serves to introduce Prince Hector, commander of the Trojans and son of Priam, King of Troy (2.927). 15. What is the relation between Zeus and the kings of men?Odysseus declares, “The rage of kings is strong, they’re nursed by the gods, their honor comes from Zeus—they’re dear to Zeus, the god who rules the world” (2.226). Zeus’ governance of the world is, at least in part, mediated through the kings of men. Homer provides such an example by Zeus working his will by influencing the actions of Agamemnon via the dream (2.07). The episode sheds further light on the relation between the will of Zeus and the free will of man. Note also, however, that the dream is a deceit. The gods are not united and Troy is not prime to be destroyed (2.16). The Dream also takes on the voice of Nestor (2.24). It is common for the gods to present their messages through faces familiar to the recipient. In response to the dream, Agamemnon tests his men and tells them Zeus has “plotted brutal treachery” and now commands they return home (2.134). The levels of irony and of deceit are notable. As Zeus lied to Agamemnon, Agamemnon now lies to his men. Moreover, Agamemnon’s lie to his men about Zeus’ treachery is more true than Agamemnon realizes. 16. Why is the dream repeated three times?It is a common characteristic for messages to repeated in full within the Homeric epics. Outside the benefit this would have for a bard, it also permits Homer a subtle literary device. Though the reader may be tempted to a certain inattention by all the repetition, Homer often has retellings change, add, or omit something. These small changes can have significant plot effects. A moderate example of this exercise can be seen in the fact that Zeus does not state that he pities Agamemnon. Such a statement is a gloss provided by Dream. To the extent such a statement could be true, it is certainly not true in the way Agamemnon believes. 17. Who is Odysseus?Odysseus, the Achaean who piloted the ship that returned Chryseis to her father in book one, is the king of Ithaca. He is known for his cunning and his rhetoric. It is telling that Athena, the goddess of wisdom, flies first to Odysseus to help unravel the knot Agamemnon has caused by his test (2.196); and more telling that Odysseus “knew the goddess’ voice” (2.211). In the Iliad, the gods will work upon man in various ways, but not all men have the capacity to discern it is the gods at work. It is another facet of the interplay of divine providence and the actions of man. Finally, it is not unremarkable that Odysseus, and not Agamemnon, bears the epithet of “a mastermind like Zeus” (2.197). We may draw a connection here back to Athena, as Athena emerged from the head of Zeus. Given Zeus’ deceit upon Agamemnon, however, we are left to wonder about the true nature of a man who bears such an epithet. Odysseus and his character merit careful observation.18. Who is Helen of Argos?In book two of the Iliad, Homer provides a few broad references to the Achaeans warring in Troy for Helen (2.189, 423, 682). The story of Helen would have been known to Homer’s ancient audience and is an ancillary story to the Iliad (Question 7). Helen is a daughter of Zeus and was known throughout ancient Greece for her goddess-like beauty. Her mother’s husband, King Tyndareus of Sparta, was inundated with marriage proposals for the hand of Helen from every imaginable suitor in Greece. As Hamilton records, the king “was afraid to select one among then, hearing that the others would unite against him.” It was Odysseus wh

Deacon Harrison Garlick and Adam Minihan jump into The Iliad Book 1.Commentary on the textBook OneThe Rage of Achilles[1]Rage—Goddess, sing of Peleus’ son Achilles. Iliad (1.1) 6.        What happens in the first half of book one?The rage of Achilles is both the theme of book one and of the Iliad as a whole. Achilles is the son of Peleus, King of Phthia, a legendary city-state in ancient Greece. Agamemnon, the king of Mycenae and leader of the federation of ancient Greek tribes that have come to war with Troy, holds as his slave and concubine a girl named Chryseis—a spoil of war (1.30). Her father, a priest of Apollo named Chryses, offers Agamemnon a “priceless ransom” (1.14) for his daughter. Despite the Achaeans (another name for the ancient Greeks), petitioning Agamemnon to accept the offer, he does not; thus, Apollo, moved by his priest’s prayer (1.42), strikes the Achaean army with a plague, i.e., his “arrows” (1.56, 69, 78, et al.), until Agamemnon finally agrees to return the daughter of Apollo’s priest and offer to the god a fitting sacrifice (1.135). However, Agamemnon finds it unfair that he, as high king, should have his “prize” taken from him while the lesser kings retain their women, their “prizes,” from war (1.158). He then demands that the concubine of Achilles, a girl named Briseis, be handed over to him (1.141, 203-221). The contention between Agamemnon and Achilles provides the catalyst for the events at the beginning of the Iliad that will shape the entire narrative.7.        Why does Homer open in the middle of the narrative?Homer begins the Iliad in what is called in media res, which is Latin for “in the midst of things” or “in the middle of things.” The Achaeans have already been on the beaches of Troy for nine years when Homer opens the Iliad (1.157). Questioning Homer’s rationale in opening his epic in such a fashion can provide greater insight into the purpose of the Iliad. In short, the opening may be in the middle of the Trojan War, but it is at the beginning of the narrative Homer wants to tell. It is notable Homer does not invoke the Muses to assist him in telling of the fall of Troy; rather, he invokes them to assist with the story of the rage of Achilles. The Iliad is the story of the tragedy that is Achilles.[2] The in media res opening, however, bears a distinct effect upon modern readers of the epic. As noted above (Question 2), Homer did not invent the story of the fall of Troy. As such, his ancient readers would have been already familiar with the characters and the general narrative. Homer, at times, does not mention key aspects of his narrative until quite late in the development of his story. For example, Homer does not explain why Hera and Athena have a “deathless hate” for Troy until almost the very end of the text (24.34). At other times, Homer will not mention a key aspect of the Trojan war at all. Lattimore refers to these ancillary stories as “marginal material.”[3] The existence of these ancillary stories to the Iliad are known only because later writers included them in their poems or plays. There is much debate, however, on whether Homer elected not to include these stories in his epic or such stories were a later invention by other authors. Nonetheless, if one is to tutor others in the Iliad, one may elect to share all these ancillary stories at the beginning to provide greater context. This approach is taken by Edith Hamilton in her summary of the Iliad in her magisterial encyclopedia: Mythology: Timeless Tales of Gods and Heroes.[4] While somewhat fitting for a summary, such an approach arguably numbs the mind to the subtleties of Homer, as one no longer has to carefully watch for allusions or note missing influences or intentions. As such, and to rely more on Homer as the teacher, this guide will discuss such ancillary stories as they correspond to Homer’s development of the text.8.        Who are the Muses?The Muses are the nine daughters of Zeus and Mnemosyne, the goddess of memory. Homer invokes the Muses for inspiration—to help him recall and tell the story of Achilles. The effect of the Muses is captured in English by amuse and its opposite, bemuse. Other notable derivatives are music, museum, and musings. In later Greek mythology, the nine muses were named and assigned patronages: “Clio was Muse of history, Urania of astronomy, Melpomene of tragedy, Thalia of comedy, Terpsichore of the dance, Calliope of epic poetry, Erato of love-poetry, Polyhymnia of songs to the gods, [and] Euterpe of lyric poetry.”[5] Homer’s invocation sets a template for later epic poetry. The Aeneid by the Roman poet Virgil (70-19 BC), the Divine Comedy by the Italian poet Dante Alighieri (AD 1265-1321), and Paradise Lost by the English poet and protestant John Milton (AD 1608-1674) all invoke the Muses at the beginning of their epic poems.&nbs

Deacon Harrison Garlick and Adam Minihan answer the question, "Who is Homer?"We announce a year with Homer! Who is Homer? Was he a real person? Did he write the Iliad and the Odyssey?1.        Who was Homer?The city of Troy is said to have fallen in 1184 B.C.[1] Such a date would place it just prior to ancient Israel’s foray into a monarchy under King Saul and the subsequent zenith of the reign of King David at 1000 B.C. Troy was a well-fortified Greek city-state[2] or polis situated on the west coast of ancient Asia Minor—now predominantly modern-day Turkey—across the Aegean Sea from Greece. It was a city of tremendous wealth and culture. The fall of Troy was already part of the ancient history of Greece during the classical era (400-300s BC). Classical Greek historians generally set the fall of Troy from 1334 to 1150 B.C.[3] The classical historian Herodotus (c. 484-425 BC), who set the date for the fall of Troy at 1250 B.C., opined that Homer lived “four hundred years before my own time, at the most;”[4] thus, he placed Homer at around 850 BC—several hundred years after the Trojan war. Modern scholarship tends to date Homer in the late 700s B.C.[5]Very little is known about Homer the person, except that he was Greek, most likely born in Asia Minor, and was a bard of great mastery, i.e., an oral poet who would compose and perform verses, especially on the histories and great deeds of his people.[6] Various traditions also present him as a slave and as blind.[7] One thinks of the wonderful painting entitled Homer and his Guide by the French painter William Bouguereau (AD 1825—1905).2.        Did Homer write the Iliad?The Iliad, Homer’s poem about the fall of Troy, did not originate as a written epic. It originally consisted of oral poems or rhapsodies memorized and performed by Greek bards in the centuries between the fall of Troy and Homer. Consequently, we should see Homer as an inheritor of a centuries old tradition of oral stories about the Trojan War.[8] The brilliance of Homer was his capacity to compose a written epic out of a myriad of oral traditions spanning several centuries. He most likely wrote the Iliad (or dictated it to a scribe) around 750 B.C.[9] with his sequel, the Odyssey, at 725 B.C.The Iliad, as we know it today, “consists in the Original Greek of 15,693 lines of hexameter verse.”[10] Copies of it existed on papyrus scrolls, and it is arguable that the demarcation of the now twenty-four “books” of the Iliad correspond with the original number of scrolls utilized to record the entire epic.[11] One notable remnant of the oral tradition in the written verse is the use of “ornamental epithets.”[12] Epithets are short descriptive phrases of characters that are found throughout the Iliad, e.g., “lord of war,” “man-killing Hector,” “white armed Hera,” “lord of the war cry,” etc. These phrases provided the bard a certain lattice work upon which to improvise and mention key characters while preserving the poetic meter.[13] 3.        Why should we read the Iliad by Homer?The Iliad is arguably the first “great book” in the Western canon—save Holy Scripture. As one would start with Genesis to understand the Hebrews, one starts with Homer to understand the Greeks. Homer represents an insight into the ancient Greek culture whose maturation will eventually assist in the formation of Christianity and Christendom. Almost four hundred years after Homer, his poetry and its cultural influence on the Greeks will serve as an interlocutor to the philosopher Socrates (c. 470-399 BC). In turn, through Socrates, one may find the beginning of a Greek or Hellenized culture that plays a profound role in the formation of the New Testament. Greek reason coupled with Hebrew faith under Roman order helped till the soil for Incarnation of God.[14] Saint Paul observes that Jesus Christ came in the “fullness of time” (Gal 4:4); thus, the cultures selected by Providence to provide the proper receptivity to the Eternal Word made flesh bare a distinctly unrepeatable vocation in the history of mankind.[15] While truth can be found amongst the writings of Confucius (c. 551-479 BC) or the Babylonian epic the Enuma Elish (c. 1900 BC), they lack a certain historical prominence demonstrated by those cultures more proximate to the earthly life of Jesus Christ.Consequently, we will approach Homer as a teacher—a teacher not only of his own ancient Greek culture but of humanity. The observations and teachings Homer provides in the Iliad provide in turn an insight into our own human nature. We discover truths about ourselves and truths that started to till the earth for the coming of Christ. The “great books” of the West often deal with perennial truths or topics that are relevant to the reality of man regardless of the age. In Homer, several of these truths are expressed in a nascent form that must mature thr

Dr. Richard Meloche, Dr. Aaron Henderson, Dcn. Harrison Garlick, and Adam Minihan ask the question, "Why read the Great Books and how do you read them well?"In this episode, they discuss:What are the Great Books?Why should we read the Great Books?How reading the Great Books helps form the person.How reading the Great Books will help form the cultureHere is a copy of the text read at the beginning of the episode:Avoiding the Unreal: How to Read the Great Books WellBy Deacon Harrison GarlickOriginally published on The Alcuin Institute for Catholic CultureI. Reclaim your Education“We are concerned as anybody else at the headlong plunge into the abyss that Western civilization seems to be taking,” wrote Robert M. Hutchins, editor of the 1952 Great Books of the Western World.[1] In order to “recall the West to sanity,” Hutchins, and his associate editor Mortimer Adler, compiled the fifty-four volume Great Books of the Western World series representing the primary texts from the greatest intellects in Western history.[2] From Homer, to Dante, to Shakespeare, they saw these authors in a dialogue, a “Great Conversation,” that gave the West a distinctive character.[3] These authors, especially the ancient and medieval ones, had contributed to the rise of the liberal arts and to the belief that the liberally educated man was one who had disciplined his passions in pursuit of the good. As Hutchins observed, “the aim of liberal education is human excellence.”[4]Yet, Hutchins saw the West as undergoing a practical book burning.[5] The great books were being removed from Western education and with them any semblance of a true liberal education. Today, the book burning continues. It is evident that modern education is more a training—it trains students for a societal function and delegates the holistic, human formation to a culture of relativism. A college graduate is no longer expected to be “acquainted with the masterpieces of his tradition” nor the perennial questions into truth, beauty, or goodness.[6] We are deaf to the “Great Conversation.” We are cut off from the great treasury of our intellectual inheritance and only vaguely aware it even exists.The great books are an invitation to reclaim your education. They are a remedy to the privations of modern education and a salvageable substitute for our lack of a robust liberal arts formation. As Hutchins advocated, in reading the authors of the great books “we are still in the ordinary world, but it is an ordinary world transfigured and seen through the eyes of wisdom and genius.”[7] We are invited to the Great Conversation, to listen, and to add our voice to the pursuit of truth.There is a latent danger, however, in how one approaches the great books.II. Avoid the Sins of your AgeIn his 1647 masterpiece, The Art of Worldly Wisdom, the Spanish priest Baltasar Gracian, S.J., exhorted his audience to “avoid the faults of your nation.”[8] He explains: “Water shares the good or bad qualities of the strata through which it flows, and man those of the climate in which he is born.”[9] We live, as Cardinal Ratzinger observes, under a “dictatorship of relativism,”[10] and it contaminates every feature of our intellect. To have the requisite self-awareness and virtue to purge these impurities is a “triumph of cleverness.”[11] Whether we think of the ark of Noah, the compulsion out of Plato’s cave, or the angel that led Lot out of Sodom, the great books can help us escape the errors of our age. Writers like Aristotle or St. Boethius challenge our modern presumptions and stretch our imagination to encompass new perspectives on reality. We may better see our age for what it is and what led to our present culture (or anti-culture).Relativism, however, is pernicious and infects even the remedies against it. We should observe that the authors of the great books disagree. In fact, many of the modern great books became “great” by being contrary to most all that had preceded them. The political philosophy of Thomas Hobbes is a rejection of Aristotle and St. Thomas Aquinas. The understanding of history by Karl Marx is a revolution against over two thousand years of human observation, and Friedrich Nietzsche rejects everyone to wage war against Socrates and Jesus Christ. In short, the “great books” were chosen for their impact and not principally for their truth.The latent danger in the great books is that one simply becomes a well-read relativist. Before us are the greatest minds in the West, these minds disagree, therefore there is no reasonable expectation of truth. Even so-called conservative great books projects will refrain from saying one great book is better than another—they denounce any type of guidance to the great books, favoring a pseudo-neutrality that places dialogue over truth.[12] As Patrick Deneen observes in his 2013 essay, “Against Great Books,” “I have come to suspect that the very source of the decline of the study of the great books comes not in spite of the

Who are we and why did we start this podcast?In this episode Adam and Deacon Garlick discuss:Who is Adam Minihan and Deacon Harrison Garlick?Why did we start this project?What should the listener expect?Announcing a YEAR WITH HOMER!We are all disciples of someone.Many are disciples of Nietzsche or of Locke without ever having read them. *This is why we read the great books.*We read to know the origin of ideas and to take ownership of our own intellect.To not be unknowing slaves.Deacon Harrison Garlick and Adam Minihan introduce themselves and explain why they are starting this project.