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The Illiad by Homer

Sean Meade, in addition to being my good friend, is the Web Editor for Aviation Week’s defense and space content and is the former longtime webmaster/editorial assistant/right-hand of Dr. Thomas P.M. Barnett. Sean blogs at ARES for Aviation Week and at his personal blog, Interact:

ON THE ILLIAD

by Sean Meade

What makes ‘The Iliad’ a classic? Why is it classic?

I think the primary answer is simple: it’s the characters. If you can hang tough through all of the idiosyncratic flourishes and ornaments and repetitions, the characters are compelling: Achilleus, his anger and character; the comparative nobility of Hektor and Patroklos (both of whom we know are doomed); the vagaries of the gods and their adolescent machinations; the supporting cast of Agamemnon, Menelaos the wronged, two very different men named Aias (Ajax), Diomedes, Aeneas, Odysseus, Nestor, Paris, Helen and Priam. Take these characters and others and mix them with an interesting story and you have a classic that reaches out to us from about the eighth century BC (when it was likely ‘composed’ (with heavy use of previous, oral sources) by Homer), maybe from as far back as the 12th century BC (maybe the original setting of what has come down to us as The Trojan War). ‘The Iliad’ still resonates with us today.

One reason ‘The Iliad’ can still move us is that Homer has done a masterful job of relating the ‘accidents’ of life. ‘Time and chance happen to all men’, and people who lived 3000 year ago couldn’t deceive themselves about their ability to control life the way we ‘modern’ people do. Human experience and emotions are often inscrutable. ‘Love’ (baldly called ‘lust’ by Homer) can easily destroy. When it occurs in the most influential levels of society, it can draw whole nations into its whirling vortex. Even the love between men in ‘The Iliad’ can seem illogical (no matter where you come down on the homosexuality question): why does noble Patroklos honor Achilleus literally to the death?

‘The Iliad’, of course, focuses a lot on war in ways that have become shockingly remote for most of us. Nothing is so susceptible to ‘luck’ as war. One ‘good’ soldier gets hit by stray friendly fire and dies instantly. Another ‘bad’ soldier comes through the whole war unscathed. Consider the hazards of love, life and war in ‘The Iliad’. Consider them in our own experience. It makes more sense than many theories to conclude that arbitrary and capricious gods can powerfully affect us.

My final guess (for the purposes of this mini-review) at why ‘The Iliad’ is a classic is that the poetry is timeless. This is, of course, nearly impossible to take in from one read-through in translation. My friend, Jason, listened to the abridged version and talked about its power. The commentators discuss it quite a bit, from what I can tell. Most of us (who aren’t going to pay the price to really test it) are going to have to take this on faith and rate it as we will. Poetry is a dying art, and poetry appreciation is probably in an even worse state.

I wonder what role foreknowledge plays in ‘The Iliad’. Many of us know the broad outline of the story going in. If we don’t, Homer spills it in short order. Does knowing Achilleus dies shortly after this episode in The Trojan War change our view of him? Do we cut him more slack? How does  knowing that Hektor and Patroklos die within the bounds of this story affect us? Or that Odysseus lives? Or that Agamemnon will be murdered in his bath by his wife (he had it coming ;-)?

Something else that stands out about ‘The Iliad’ is the graphic war imagery. Homer’s descriptions almost seem gratuitous when he goes into detail about how one soldier killed another, where the spear penetrated and where it came out, what muscles were severed, what happened to the bowels, teeth or brain. It’s probably distasteful to many of us in the 21st century, but I think we can just chalk that up to cultural differences.

My second big question is: what does ‘The Iliad’ mean? I’m very snobbish about exegesis, especially concerning the Bible (my training, as a former pastor), but including any suitably worthy literature (with concomitant training in British Lit and Analytic Philosophy). Exegesis, in principle, is simple: what was the author trying to communicate to the audience? (So why is good exegesis so hard to find? 😉 If we are to make any meaningful connection to the original work, this is where we have to begin. You can deploy your Reader Response Theory on ‘Twilight’ or some such drivel, but keep it off my Homer (I told you I’m a snob ;-).

We come to ‘The Iliad’ at a loss because Homer’s values are very different from ours. His presuppositions are vastly different from ours. I have touched on some of these already. The gods can show up at any time and throw any wrench in the works for almost any imaginable reason. We have to take the role of the gods seriously to take Homer seriously. What did their role say about the responsibility of people? Humans retain some responsibility, almost paradoxically. Helen isn’t completely off the hook for running away with Paris. Achilleus does not get a complete pass for his anger that causes the deaths of so many Achaean comrades. Agamemnon is not excused for his overbearing pride that contributed to the disagreement with Achilleus. And even noble Hektor faces bouts of inaction and cowardice for which he is not wholly exonerated.

Another value we find hard to understand is the ancient Greek concept of nobility. It’s just born there. If you’re a shepherd who’s not the natural-born son of King Priam and Queen Hekabe, that’s all you’ll ever be: a shepherd. The main characters are noble; many are first-generation half-deities and most (all?) have divinity in their bloodline somewhere. From our standpoint, Achilleus behaves like a monster, especially in his repeated attempted-desecration of Hektor’s body (the gods protect Hektor’s body and Achilleus’ ultimate honor by preserving Hektor’s corpse inviolate in almost the perfect proverbial deus ex machina). He’s sacrificed any claim to nobility as far as we’re concerned. Not so for Homer and the ancient Greeks; Achilleus retains his nobility, though it is clouded by sins. He receives partial pardons and rationalizations. From our perspective, we view him as maybe the original anti-hero. Homer’s view is much less ambivalent, and Achilleus gets away with things for which lesser men would go straight to Tartaros without passing ‘Go’. It’s a far cry from our 21st century Western concept of nobility and our love of ‘rags to riches’ fables. It’s only riches to riches here (though maybe no one knew through the rags that you were really rich).

So what is Homer’s message? The conclusion of my barely-better-than-cursory reading is: Given that nobility and greatness are natural, almost literally gifts of fate (the Fates); and that humans are subject to the whims of the gods; it is best to be brave and seek glory (within reason–with a glance forward to Aristotle’s middle-way ethic). How’s that going to help you with your job or family? Not much. It’s fodder for thinking about societal values and a long way from whether or not to stick it out in your mediocre, going-nowhere job. (It might possibly apply to whether or not you should run away with your neighbor’s spouse.)

For most of us, ‘The Iliad’ is probably a test in proper exegesis more than someplace we should or will go to look for meaning. But maybe that’s just my soap box 😉

Every year I make an effort to increase my reading of books during the summer months. Inevitably, I fail at completing whatever overambitious reading list that I compose while somehow finding time to read other books that were never on the list. This year was no exception.

Starting this weekend, I am going to be reviewing all the books I did read from late May to early September. It was an eclectic collection and I hope to complete this series of posts by mid-September. A few reviews that have already appeared in this time period will be re-posted to make the series complete.

Readers are free to offer comments and recommendations about their own favorite summer books or their idiosyncratic reading habits as the series rolls along……

To the ominously increasing antilibrary and the waning summer reading bookpiles:

Counterinsurgency by David Kilcullen

The Grand Strategy of the Byzantine Empire by Edward Luttwak

Spook Country by William Gibson

Hope to start  a couple of these by the end of the month. A number of other books to be finished first.

I have a new decentralized reading strategy that seems to be helping me wad through books faster. Books that I am reading are distributed to be read in different places – one in my gym bag for the treadmill; one in my car in case there’s time to kill at an appointment or at a restaurant; one or two books downstairs to read on the couch or outside on the deck; one to take to the pool with the kids and four of five on my bedstand. There are also a store of books on my iPad, “just in case”.

The strategy allows me to concentrate on finishing several books – my “primary” reads – even as I steadily chip away at the rest and there are enough choices available to suit my mood on any given day so it doesn’t feel like I am doing a literary marathon. Books that I am focusing on, usually histories, strategic studies and social science works, I will mark up with marginalia and the others are just read without recourse to notation.

How do you handle your reading time?

Freedom (TM) by Daniel Suarez

Shlok and John Robb have already endorsed Freedom(TM) by Daniel Suarez, the sequel to his earlier bestselling Daemon and I’d like to briefly join them in praising Freedom(TM) as a must-read work of science fiction. One that meshes well with the societal problems covered on today’s front pages while describing an emergent world of the Darknet being shepherded by the elusive, increasingly powerful, Daemon.

Other Posts on Freedom(TM):

Red Herrings

Senator’s Son: An Iraq War Novel by Luke S. Larson

Fiction is not a genre that I usually review here, or get an opportunity to read often, but I received a courtesy review copy of a book Senator’s Son, by Iraq war vet, Marine officer and new novelist Luke Larson and was curious. The Iraq War and the War on Terror have produced a fine array of thoughtful books by veterans, war reporters and military thinkers like Fiasco, One Bullet Away  and The Strongest Tribe, all of which were non-fiction memoirs, journalistic histories and quasi-policy books. By virtue of writing Senator’s Son as a novel, Larson was taking a different path in explaining his war.

There are two books at once in Senator’s Son. The first, is of course, a story, with characters and a plot and rising action, action, tragedy and theme – all the usual aspects of literature which I am not especially practiced at evaluating here. The second part is a contextual explanation of COIN by an author who lived the Iraq War. To his credit, Larson contacted me personally to request a “No bulls**t review”, so I will give the man what he asked for.

As an explanation of COIN, I think the book is a must read for anyone unfamiliar with the subject and the nuanced complexities that COIN entails. The gritty, unforgiving, human suffering and moments of triumph of soldiers waging “pop-centric” COIN that gets lost in powerpoint slides, in the dry abstractions of journal articles and blogospheric arguments far removed from the ground is present in ample measure in Senator’s Son. Many times, I paused in a passage and thought, “hmmm….I did not consider that”. Or “This is what the soldiers bear up under without complaint”. More people need to read that and digest what we ask of our men and women in Iraq and Afghanistan.

Senator’s Son also lays out, fairly methodically, how COIN theory may have been interpreted and debated by soldiers outside the wire, including cameo appearances or mention of real life COIN leaders woven into the story. The characters Bama, Cash, Rogue, Isaac, Gonzo the Iraqi and more, resist and adapt, struggling with their environment, unseen enemies and the political pressures of higher authorities, registering both frustration and progress in executing the mission of Golf Company. There’s even diagrams. If Senator’s Son is not on official COIN reading lists, it should be.

As a pure novel, judged on literary standards, Senator’s Son reflects its’ status as a “first novel” of a talented author whose vision of the craft is emerging. Larson excels at creating scenarios, staccato vignettes for the characters to act ( Larson may also have a future as a screenwriter – his book naturally flows in the mind like a movie). There’s always a believable, environmental, “texture” present that exceeds that of short story and science fiction writers, yet as a novelist, Larson leaves enough to the reader’s imagination so that the story moves at a dramatic pace.

Characterization in Senator’s Son is uneven. It takes a while for the individual personalities of the characters to shine beyond their common “Marine-ness” and we get only the briefest glimpse of the malign nature of the enemy, and that secondhand through the eyes of an Iraqi character. That probably is an accurate representative of the experience of most US soldiers and Marines in Iraq who are not interrogators; furthermore, having the antagonist that the characters struggle against be the total environment is perfectly legitimate. It would have been interesting for me to have seen how Larson would develop and utilize a figure who was the focus of evil; however that task would be fairly incompatible with getting an effective message across regarding COIN, success of which does not hinge on the defeat of super-villains or the resolution of black-white moral absolutes but is complexity written in shades of gray.

Finally, as an avid reader, I found Senator’s Son to be a page-turner. Several times, I looked at the clock while reading for what seemed to me a short time, noted it was 1:30 am and was regretful that I had to put it on my bedstand ( I always finished the chapter first though 🙂 ) only to repeat the process the following night.  Strongly recommended.

ADDENDUM – OTHER REVIEWS of SENATOR’S SON by:

Thomas P.M. Barnett 

Shrinkwrapped 

Shane Deichman