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The Iliad
One of the foremost achievements in Western literature, Homer's Iliad tells the story of the darkest episode of the Trojan War. At its center is Achilles, the greatest warrior-champion of the Greeks, and his conflict with his leader Agamemnon. Interwoven in the tragic sequence of events are powerfully moving descriptions of the ebb and flow of battle, the besieged city of Ilium, the feud between the gods, and the fate of mortals.
848 pages, Hardcover
First published January 1, 801
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About the author
Homer
4,446听books6,568听followersHomer (Greek: 螌渭畏蚁慰蟼 born c.鈥�8th century BC) was a Greek poet who is credited as the author of the Iliad and the Odyssey, two epic poems that are foundational works of ancient Greek literature. Homer is considered one of the most revered and influential authors in history.
Homer's Iliad centers on a quarrel between King Agamemnon and the warrior Achilles during the last year of the Trojan War. The Odyssey chronicles the ten-year journey of Odysseus, king of Ithaca, back to his home after the fall of Troy. The poems are in Homeric Greek, also known as Epic Greek, a literary language which shows a mixture of features of the Ionic and Aeolic dialects from different centuries; the predominant influence is Eastern Ionic. Most researchers believe that the poems were originally transmitted orally. Despite being predominantly known for its tragic and serious themes, the Homeric poems also contain instances of comedy and laughter.
Homer's epic poems shaped aspects of ancient Greek culture and education, fostering ideals of heroism, glory, and honor. To Plato, Homer was simply the one who "has taught Greece" (蟿峤次� 峒櫸晃晃次� 蟺蔚蟺伪委未蔚蠀魏蔚谓). In Dante Alighieri's Divine Comedy, Virgil refers to Homer as "Poet sovereign", king of all poets; in the preface to his translation of the Iliad, Alexander Pope acknowledges that Homer has always been considered the "greatest of poets". From antiquity to the present day, Homeric epics have inspired many famous works of literature, music, art, and film.
The question of by whom, when, where and under what circumstances the Iliad and Odyssey were composed continues to be debated. Scholars remain divided as to whether the two works are the product of a single author. It is thought that the poems were composed at some point around the late eighth or early seventh century BC. Many accounts of Homer's life circulated in classical antiquity; the most widespread account was that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. Modern scholars consider these accounts legendary.
French: 贬辞尘猫谤别, Italian: Omero, Portuguese, Spanish: Homero.
Homer's Iliad centers on a quarrel between King Agamemnon and the warrior Achilles during the last year of the Trojan War. The Odyssey chronicles the ten-year journey of Odysseus, king of Ithaca, back to his home after the fall of Troy. The poems are in Homeric Greek, also known as Epic Greek, a literary language which shows a mixture of features of the Ionic and Aeolic dialects from different centuries; the predominant influence is Eastern Ionic. Most researchers believe that the poems were originally transmitted orally. Despite being predominantly known for its tragic and serious themes, the Homeric poems also contain instances of comedy and laughter.
Homer's epic poems shaped aspects of ancient Greek culture and education, fostering ideals of heroism, glory, and honor. To Plato, Homer was simply the one who "has taught Greece" (蟿峤次� 峒櫸晃晃次� 蟺蔚蟺伪委未蔚蠀魏蔚谓). In Dante Alighieri's Divine Comedy, Virgil refers to Homer as "Poet sovereign", king of all poets; in the preface to his translation of the Iliad, Alexander Pope acknowledges that Homer has always been considered the "greatest of poets". From antiquity to the present day, Homeric epics have inspired many famous works of literature, music, art, and film.
The question of by whom, when, where and under what circumstances the Iliad and Odyssey were composed continues to be debated. Scholars remain divided as to whether the two works are the product of a single author. It is thought that the poems were composed at some point around the late eighth or early seventh century BC. Many accounts of Homer's life circulated in classical antiquity; the most widespread account was that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. Modern scholars consider these accounts legendary.
French: 贬辞尘猫谤别, Italian: Omero, Portuguese, Spanish: Homero.
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December 4, 2013
What I learned from this book (in no particular order):
1. Victory or defeat in ancient Greek wars is primarily the result of marital spats and/or petty sibling rivalry in Zeus and Hera鈥檚 dysfunctional divine household.
2. Zeus 鈥渢he father of gods and men鈥� is a henpecked husband who is also partial to domestic abuse.
3. If you take a pretty girl who is the daughter of a priest of Apollo as war booty and refuse to have her ransomed, Apollo will rain plague on your troops. And he won鈥檛 be appeased until you return the girl and throw him a ginormous BBQ party involving hundreds of cattle at his temple.
4. If an arrow or a spear were thrown at you in battle, more often than not, it would land on your nipple or thereabout. Or alternatively, it would pierce your helmet and splatter your brain.
5. Paris is a proper guy鈥檚 name, not just a name for capital cities or bratty heiresses.
6.Brad Pitt in man skirt* Achilles is the badassest warrior there ever was.
7. Real men eat red meat, specifically:
a. sheep chines;
b. fat goats; and
c. the long back cuts of a full-grown pig, marbled with lard.
8. The most valuable booty are (in no particular order):
a. bronze tripods (each worth 12 oxens) and armors;
b. swift war stallions; and
c. pretty women (each worth 4 oxens, if also skilled in crafts). Lesbians are particularly prized.
9. There is nothing more glorious for a warrior than to sack enemy cities, plunder their wealth, kill all their men, bed their pretty women and enslave their children.
10. The only men who matter are warriors, but if you are a woman, the range of roles that you could play is rather more diverse. You could be:
a. a runaway wife who sparks a cosmic battle between your thuggish hubby鈥檚 city-state and your cowardly boyfriend鈥檚 (1);
b. a war booty with a bad case of Stockholm Syndrome (2);
c. a manipulative uber bitch (who also happens to be a goddess) (3);
d. a long-suffering wife and mother (4).
(1) Helen (2) Briseis (3) Hera (4) Andromache
But whatever role you choose to play, you will still be the bone of contention between men and the armies that they lead. All the major conflicts in the story are triggered by women, or specifically by their sexuality: Helen鈥檚 elopement with Paris launched a thousand Argive ships against Troy; Agamemnon鈥檚 desire to bed Briseis, Achilles鈥� lawful prize, caused a nearly unhealable rift between them; and Hector鈥檚 desire to protect his wife from the dismal fate of being an Argive sex slave inspired him to fight Achilles to the death. Homer鈥檚 mortal women might be meek and mild, but his goddesses can kick ass with the best of them, and even occasionally best their male counterparts: Zeus is not above being manipulated by Hera, and Ares the God of War actually got whacked on the head by Athena.
*Troy, Brad Pitt, Eric Bana, Warner Bros. 2004.
What I find most surprising about the Iliad is the amount of graphic, X-rated violence that it contains. The violence is not the biblical slaying and smiting, but something much more voyeuristically gory:
鈥溾€he one Peneleos lanced beneath the brows, down to the eyes' roots and scooped an eyeball out --- the spear cut clean through the socket, out behind the nape and backward down he sat, both hands stretched wide as Peneleos, quickly drawing his whetted sword, hacked him square in the neck and lopped his head and down on the ground it tumbled, helmet and all. But the big spear's point still stuck in the eye socket ---."
I imagine that this kind of anatomically precise, brain-splattering, gut-spilling action scenes made the Iliad popular with the Romans, who routinely went to the Colosseum to watch gladiators hack each other to death, but there is only so much of it that I could take in one sitting, which is why it took me almost three months to finish it. It is not that I鈥檓 particularly sensitive to fictional death and dismemberment --- and after all, this book is a war book --- but the sheer amount of such scenes, as well as their mind-numbing repetitiveness made for tedious reading. It doesn鈥檛 help that many of these deaths happened to seemingly throwaway characters, barely introduced in three or four lines, merely to be summarily (and gorily) dispatched in another half a dozen lines on the same page. The Iliad is assumed to be the written version of a much older oral poem, and such characters might represent collective memories of real Bronze Age warriors, but by Zeus, hundreds of pages of them being hacked, cleaved and skewered to death almost did me in.
Now, what is the purpose of such meticulously catalogued carnage? Was Homer trying to present War with all its attendant horrors to shock his audience into pacifism? Or was the old guy just trying to write an 8th century BCE equivalent of a blockbuster action-adventure movie with enough gore to satisfy his young male demographic? The Iliad both celebrates and laments the warrior spirit: the haughty pride and terrible thirst for vengeance and plunder that set men to distant shores, intent on razing cities and putting its inhabitants to slaughter, but also the stark, tragic consequences of such acts.
I actually find the gods鈥� politicking and manipulations more interesting than the actual war. The Greek gods are blissfully free of any human notion of morality --- which makes the problem of theodicy much more simpler to solve than in the Judeo-Christian model. The Olympian gods do not move in mysterious ways: they are moved by caprice and petty grievances. Why did we suffer such an ignominious defeat, despite all that we had done to win Zeus鈥� favor? Well, it happened that just before the battle was about to begin, Hera seduced him and subsequently put him to sleep with the help of Hypnos, whom she bribed with one of the Graces. A perfectly logical and very human explanation.
The story gets much more interesting in the last five books. The Olympian gods entered into the fray and the effect is sometimes like watching WWE SmackDown:
鈥淏loody Ares lunged at it now with giant lance
and Athena backed away, her powerful hand hefting
a boulder off the plain, black, jagged, a ton weight
that men in the old days planted there to make off plowland ---
Pallas hurled that boundary-stone at Ares, struck his neck,
loosed his limbs, and down he crashed and out over seven acres
sprawled the enormous god and his mane dragged in the dust.鈥�
Or maybe an episode of Super Friends :
鈥淗ow do you have the gall, you shameless bitch,
to stand and fight me here?
鈥�.
But since you鈥檇 like a lesson in warfare, Artemis,
just to learn, to savor how much stronger I am
when you engage my power ---鈥�
The gods are 鈥渄eathless鈥�, so you know that there won鈥檛 be any lasting harm from their catfight, but the cost of battle to all too mortal men is heavy indeed. This was a time when war was as elemental as they come: no mercy was shown to the enemy on the battlefield, save one that pertained to a warrior鈥檚 honor, which was to be buried with full honors by his family and comrades. When mighty, 鈥渟tallion-breaking鈥� Hector finally succumbed to Achilles in a strangely anticlimactic duel, his father Priam went to Achilles鈥� camp and
鈥渒neeling down beside Achilles, clasped his knees
and kissed his hands, those terrible, man-killing hands
that had slaughtered Priam鈥檚 many sons in battle.鈥�
Troy鈥檚 old king begged for his son鈥檚 body, and in the magnificent, poignant last book, Homer showed us the real cost of war, both on the vanquished and the triumphant. By the will of the gods, Achilles鈥� death would soon follow: his destiny was ultimately no different from the rest of tragic humanity, fated to suffer and die by callous, immoral gods for causes that were entirely beyond their ken.
鈥淪o the immortals spun our lives that we, we wretched men
live on to bear such torments ---鈥�
1. Victory or defeat in ancient Greek wars is primarily the result of marital spats and/or petty sibling rivalry in Zeus and Hera鈥檚 dysfunctional divine household.
2. Zeus 鈥渢he father of gods and men鈥� is a henpecked husband who is also partial to domestic abuse.
3. If you take a pretty girl who is the daughter of a priest of Apollo as war booty and refuse to have her ransomed, Apollo will rain plague on your troops. And he won鈥檛 be appeased until you return the girl and throw him a ginormous BBQ party involving hundreds of cattle at his temple.
4. If an arrow or a spear were thrown at you in battle, more often than not, it would land on your nipple or thereabout. Or alternatively, it would pierce your helmet and splatter your brain.
5. Paris is a proper guy鈥檚 name, not just a name for capital cities or bratty heiresses.
6.
7. Real men eat red meat, specifically:
a. sheep chines;
b. fat goats; and
c. the long back cuts of a full-grown pig, marbled with lard.
8. The most valuable booty are (in no particular order):
a. bronze tripods (each worth 12 oxens) and armors;
b. swift war stallions; and
c. pretty women (each worth 4 oxens, if also skilled in crafts). Lesbians are particularly prized.
9. There is nothing more glorious for a warrior than to sack enemy cities, plunder their wealth, kill all their men, bed their pretty women and enslave their children.
10. The only men who matter are warriors, but if you are a woman, the range of roles that you could play is rather more diverse. You could be:
a. a runaway wife who sparks a cosmic battle between your thuggish hubby鈥檚 city-state and your cowardly boyfriend鈥檚 (1);
b. a war booty with a bad case of Stockholm Syndrome (2);
c. a manipulative uber bitch (who also happens to be a goddess) (3);
d. a long-suffering wife and mother (4).
(1) Helen (2) Briseis (3) Hera (4) Andromache
But whatever role you choose to play, you will still be the bone of contention between men and the armies that they lead. All the major conflicts in the story are triggered by women, or specifically by their sexuality: Helen鈥檚 elopement with Paris launched a thousand Argive ships against Troy; Agamemnon鈥檚 desire to bed Briseis, Achilles鈥� lawful prize, caused a nearly unhealable rift between them; and Hector鈥檚 desire to protect his wife from the dismal fate of being an Argive sex slave inspired him to fight Achilles to the death. Homer鈥檚 mortal women might be meek and mild, but his goddesses can kick ass with the best of them, and even occasionally best their male counterparts: Zeus is not above being manipulated by Hera, and Ares the God of War actually got whacked on the head by Athena.
*Troy, Brad Pitt, Eric Bana, Warner Bros. 2004.
What I find most surprising about the Iliad is the amount of graphic, X-rated violence that it contains. The violence is not the biblical slaying and smiting, but something much more voyeuristically gory:
鈥溾€he one Peneleos lanced beneath the brows, down to the eyes' roots and scooped an eyeball out --- the spear cut clean through the socket, out behind the nape and backward down he sat, both hands stretched wide as Peneleos, quickly drawing his whetted sword, hacked him square in the neck and lopped his head and down on the ground it tumbled, helmet and all. But the big spear's point still stuck in the eye socket ---."
I imagine that this kind of anatomically precise, brain-splattering, gut-spilling action scenes made the Iliad popular with the Romans, who routinely went to the Colosseum to watch gladiators hack each other to death, but there is only so much of it that I could take in one sitting, which is why it took me almost three months to finish it. It is not that I鈥檓 particularly sensitive to fictional death and dismemberment --- and after all, this book is a war book --- but the sheer amount of such scenes, as well as their mind-numbing repetitiveness made for tedious reading. It doesn鈥檛 help that many of these deaths happened to seemingly throwaway characters, barely introduced in three or four lines, merely to be summarily (and gorily) dispatched in another half a dozen lines on the same page. The Iliad is assumed to be the written version of a much older oral poem, and such characters might represent collective memories of real Bronze Age warriors, but by Zeus, hundreds of pages of them being hacked, cleaved and skewered to death almost did me in.
Now, what is the purpose of such meticulously catalogued carnage? Was Homer trying to present War with all its attendant horrors to shock his audience into pacifism? Or was the old guy just trying to write an 8th century BCE equivalent of a blockbuster action-adventure movie with enough gore to satisfy his young male demographic? The Iliad both celebrates and laments the warrior spirit: the haughty pride and terrible thirst for vengeance and plunder that set men to distant shores, intent on razing cities and putting its inhabitants to slaughter, but also the stark, tragic consequences of such acts.
I actually find the gods鈥� politicking and manipulations more interesting than the actual war. The Greek gods are blissfully free of any human notion of morality --- which makes the problem of theodicy much more simpler to solve than in the Judeo-Christian model. The Olympian gods do not move in mysterious ways: they are moved by caprice and petty grievances. Why did we suffer such an ignominious defeat, despite all that we had done to win Zeus鈥� favor? Well, it happened that just before the battle was about to begin, Hera seduced him and subsequently put him to sleep with the help of Hypnos, whom she bribed with one of the Graces. A perfectly logical and very human explanation.
The story gets much more interesting in the last five books. The Olympian gods entered into the fray and the effect is sometimes like watching WWE SmackDown:
鈥淏loody Ares lunged at it now with giant lance
and Athena backed away, her powerful hand hefting
a boulder off the plain, black, jagged, a ton weight
that men in the old days planted there to make off plowland ---
Pallas hurled that boundary-stone at Ares, struck his neck,
loosed his limbs, and down he crashed and out over seven acres
sprawled the enormous god and his mane dragged in the dust.鈥�
Or maybe an episode of Super Friends :
鈥淗ow do you have the gall, you shameless bitch,
to stand and fight me here?
鈥�.
But since you鈥檇 like a lesson in warfare, Artemis,
just to learn, to savor how much stronger I am
when you engage my power ---鈥�
The gods are 鈥渄eathless鈥�, so you know that there won鈥檛 be any lasting harm from their catfight, but the cost of battle to all too mortal men is heavy indeed. This was a time when war was as elemental as they come: no mercy was shown to the enemy on the battlefield, save one that pertained to a warrior鈥檚 honor, which was to be buried with full honors by his family and comrades. When mighty, 鈥渟tallion-breaking鈥� Hector finally succumbed to Achilles in a strangely anticlimactic duel, his father Priam went to Achilles鈥� camp and
鈥渒neeling down beside Achilles, clasped his knees
and kissed his hands, those terrible, man-killing hands
that had slaughtered Priam鈥檚 many sons in battle.鈥�
Troy鈥檚 old king begged for his son鈥檚 body, and in the magnificent, poignant last book, Homer showed us the real cost of war, both on the vanquished and the triumphant. By the will of the gods, Achilles鈥� death would soon follow: his destiny was ultimately no different from the rest of tragic humanity, fated to suffer and die by callous, immoral gods for causes that were entirely beyond their ken.
鈥淪o the immortals spun our lives that we, we wretched men
live on to bear such torments ---鈥�
April 30, 2023
welcome to...THE APRILIAD!
for those of you who are new here and do not yet feel the existential dread and heart-stopping moroseness that a title + month pun inspires in the hearts of many...
1) hi.
and 2) you have been cursed to stumble upon yet another installment of PROJECT LONG CLASSICS, in which i divide up an intimidating book into skinny and appealing chunks, dispersed over the course of a month.
in this case, this stems from one of my defining personality traits: pretending that someday i'll reread the million-page classics i half-read in school.
but now i'm doing it.
let's get into it.
BOOK I: PLAGUE AND WRATH
i love that the greek gods had nothing better to do than mess with human rivalries. it's like if you were allowed to pick fights between people while you watched reality tv.
BOOK II: A DREAM, A TESTING AND THE CATALOGUE OF SHIPS
this chapter was roughly 60% roll call and i have to say...homer, if you think i'm remembering ANY of these names, you are in for a posthumous surprise.
BOOK III: A DUEL AND A TROJAN VIEW OF THE GREEKS
ok...the helen stuff is sadder than i remember...
on a lighter note you have to respect homer's commitment to the wartime #OOTD.
BOOK IV: THE OATH IS BROKEN AND BATTLE JOINED
if i were SHOT by an ARROW and everyone wanted to stand around and poetically recap what had happened for paragraphs on end...i would freak the hell out.
and i certainly wouldn't be all "it isn't mortal because of my sick-ass armor, don't worry about it."
BOOK V: DIOMEDES' HEROICS
huuuuge chapter for fans of tongues getting cut off at the root.
BOOK VI: HECTOR AND ANDROMACHE
helen calling herself a "cold, evil-minded slut" and then going on to discuss how her husband is brainless and annoying...kind of a slay.
BOOK VII: AJAX FIGHTS HECTOR
you have to respect homer 鈥� that is a CRAZY matchup for this early in the game. getting the big names out there early.
menelaus really catching strays out here...he's the only one brave enough to say he'll fight hector and then agamemnon gets up and calls him old and washed up in front of everyone... #JusticeForOlympian-BredMenelaus
BOOK VIII: HECTOR TRIUMPHANT
pretty quick turnaround on triumph. hector just got his ass beat by ajax in front of everyone iirc
this chapter alone uses the insults "cry-baby" and "barefaced bitch." the ancient greeks: they're just like us.
BOOK IX: THE EMBASSY TO ACHILLES
folks...we're 20 days behind.
i don't know how this happened, but i'm guessing a combination of ennui, laziness, self-pity, distraction, a girls' trip to miami, and a hero's journey of my own involving frozen oreos and learning how to play poker.
but that's just a guess. time to play catchup - 7 days left in april and 15 books left to go!
achilles, petty king.
BOOK X: DIOMEDES AND ODYSSEUS: THE NIGHT ATTACK
i'm going to be honest 鈥� this is way, way too many names for me to be keeping active track of who belongs to which long lost city-state. let alone which gods are fans of which one.
BOOK XI: ACHILLES TAKES NOTE
achilles is like...the original person who says they're into self care but is actually just putting an amazing PR spin on being truly selfish and a nightmare to be around.
another crazy bloody chapter. and not in the british way.
although i guess that too.
BOOK XII: HECTOR STORMS THE WALL
this book loves nothing more than having one character say two full paragraphs of dialogue, then having another character parrot the exact same two paragraphs to another audience. it's very me when i'm trying to hit word count-coded.
BOOK XIII: THE BATTLE AT THE SHIPS
literally the only way that the hundreds of character names in this could be harder to track is if it were being read aloud.
which is, you know. the intention.
BOOK XIV: ZEUS OUTMANOEUVRED
look at that fancy spelling. we're in business.
hera is truly #goals in this chapter...i want to spend multiple pages getting all dressed up and be best friends with Sleep. as is we're barely even warm acquaintances.
although i guess your husband listing the various hot women he's slept with and expecting you to be flattered is not ideal.
BOOK XV: THE GREEKS AT BAY
imagine getting killed by a dart to the nipple...tough way to go out.
BOOK XVI: THE DEATH OF PATROCLUS
uh oh. we got here faster than i remembered.
oh, patroclus...you either live slaying or live long along to die seeing yourself become slayed. as the saying goes. (this works on 2 levels, because war is happening and also because patroclus is cool.)
BOOK XVII: THE STRUGGLE OVER PATROCLUS
mess with the body of patroclus and your brain WILL ooze bloody out of the crest-socket...i know that's right!!! patroclus hive we stay winning
BOOK XVIII: ACHILLES' DECISION
uh oh hector!!!!! get your ass ready!!! here the boy comes!!
we just have a dozen pages of the most stunning and poetic and emotive writing of all time to get through first. but then we're on our way.
BOOK IX: THE FEUD ENDS
you might think that if war is raging and we have bodies to collect and there's stolen armor on the lose and the battle is about to be lost that we DON'T have time for 30 pages of emotional exploration via dialogue. rookie mistake.
BOOK XX: ACHILLES ON THE RAMPAGE
i'm gonna say it...go off, king.
also extremely funny to be pleading for your life and fairly convinced it's going to work because you're the same age as your opponent. fellow 25-year-olds, we are in a permanent truce!
BOOK XXI: ACHILLES FIGHTS THE RIVER
he's just that good.
excellent strategy to hear someone's whole life story, all their suffering and sadnesses, plus YOUR involvement in it, and just go "idiot." afterward. this book is like a how-to guide for absolute sass at this point.
BOOK XXII: THE DEATH OF HECTOR
you read this title and you're all hell yeah and then you remember that little scene by the wall with the baby freaked out at the helmet and the wife and and and...
i see what you did there, homer.
and it's only slightly undercut by the beginning of this chapter being about how hector saw achilles and ran away and achilles had to chase him around the city limits thrice.
BOOK XXIII: THE FUNERAL AND THE GAMES
kind of a tough itinerary but okay.
it is a testament to the power and beauty of the conversation between patroclus' spirit and achilles that the reader only spends some time like "okay...kind of insane that we're doing the olympics right now."
BOOK XXIV: PRIAM AND ACHILLES
oh, the humanity!
OVERALL
usually i find the various installments of this project fairly easy to read, because of the whole They Are Very Short thing, but this never ended up feeling effortless. that's fine 鈥� what it did feel was incredibly evocative and impressive, a bajillion years after its writing.
rating: 4
for those of you who are new here and do not yet feel the existential dread and heart-stopping moroseness that a title + month pun inspires in the hearts of many...
1) hi.
and 2) you have been cursed to stumble upon yet another installment of PROJECT LONG CLASSICS, in which i divide up an intimidating book into skinny and appealing chunks, dispersed over the course of a month.
in this case, this stems from one of my defining personality traits: pretending that someday i'll reread the million-page classics i half-read in school.
but now i'm doing it.
let's get into it.
BOOK I: PLAGUE AND WRATH
i love that the greek gods had nothing better to do than mess with human rivalries. it's like if you were allowed to pick fights between people while you watched reality tv.
BOOK II: A DREAM, A TESTING AND THE CATALOGUE OF SHIPS
this chapter was roughly 60% roll call and i have to say...homer, if you think i'm remembering ANY of these names, you are in for a posthumous surprise.
BOOK III: A DUEL AND A TROJAN VIEW OF THE GREEKS
ok...the helen stuff is sadder than i remember...
on a lighter note you have to respect homer's commitment to the wartime #OOTD.
BOOK IV: THE OATH IS BROKEN AND BATTLE JOINED
if i were SHOT by an ARROW and everyone wanted to stand around and poetically recap what had happened for paragraphs on end...i would freak the hell out.
and i certainly wouldn't be all "it isn't mortal because of my sick-ass armor, don't worry about it."
BOOK V: DIOMEDES' HEROICS
huuuuge chapter for fans of tongues getting cut off at the root.
BOOK VI: HECTOR AND ANDROMACHE
helen calling herself a "cold, evil-minded slut" and then going on to discuss how her husband is brainless and annoying...kind of a slay.
BOOK VII: AJAX FIGHTS HECTOR
you have to respect homer 鈥� that is a CRAZY matchup for this early in the game. getting the big names out there early.
menelaus really catching strays out here...he's the only one brave enough to say he'll fight hector and then agamemnon gets up and calls him old and washed up in front of everyone... #JusticeForOlympian-BredMenelaus
BOOK VIII: HECTOR TRIUMPHANT
pretty quick turnaround on triumph. hector just got his ass beat by ajax in front of everyone iirc
this chapter alone uses the insults "cry-baby" and "barefaced bitch." the ancient greeks: they're just like us.
BOOK IX: THE EMBASSY TO ACHILLES
folks...we're 20 days behind.
i don't know how this happened, but i'm guessing a combination of ennui, laziness, self-pity, distraction, a girls' trip to miami, and a hero's journey of my own involving frozen oreos and learning how to play poker.
but that's just a guess. time to play catchup - 7 days left in april and 15 books left to go!
achilles, petty king.
BOOK X: DIOMEDES AND ODYSSEUS: THE NIGHT ATTACK
i'm going to be honest 鈥� this is way, way too many names for me to be keeping active track of who belongs to which long lost city-state. let alone which gods are fans of which one.
BOOK XI: ACHILLES TAKES NOTE
achilles is like...the original person who says they're into self care but is actually just putting an amazing PR spin on being truly selfish and a nightmare to be around.
another crazy bloody chapter. and not in the british way.
although i guess that too.
BOOK XII: HECTOR STORMS THE WALL
this book loves nothing more than having one character say two full paragraphs of dialogue, then having another character parrot the exact same two paragraphs to another audience. it's very me when i'm trying to hit word count-coded.
BOOK XIII: THE BATTLE AT THE SHIPS
literally the only way that the hundreds of character names in this could be harder to track is if it were being read aloud.
which is, you know. the intention.
BOOK XIV: ZEUS OUTMANOEUVRED
look at that fancy spelling. we're in business.
hera is truly #goals in this chapter...i want to spend multiple pages getting all dressed up and be best friends with Sleep. as is we're barely even warm acquaintances.
although i guess your husband listing the various hot women he's slept with and expecting you to be flattered is not ideal.
BOOK XV: THE GREEKS AT BAY
imagine getting killed by a dart to the nipple...tough way to go out.
BOOK XVI: THE DEATH OF PATROCLUS
uh oh. we got here faster than i remembered.
oh, patroclus...you either live slaying or live long along to die seeing yourself become slayed. as the saying goes. (this works on 2 levels, because war is happening and also because patroclus is cool.)
BOOK XVII: THE STRUGGLE OVER PATROCLUS
mess with the body of patroclus and your brain WILL ooze bloody out of the crest-socket...i know that's right!!! patroclus hive we stay winning
BOOK XVIII: ACHILLES' DECISION
uh oh hector!!!!! get your ass ready!!! here the boy comes!!
we just have a dozen pages of the most stunning and poetic and emotive writing of all time to get through first. but then we're on our way.
BOOK IX: THE FEUD ENDS
you might think that if war is raging and we have bodies to collect and there's stolen armor on the lose and the battle is about to be lost that we DON'T have time for 30 pages of emotional exploration via dialogue. rookie mistake.
BOOK XX: ACHILLES ON THE RAMPAGE
i'm gonna say it...go off, king.
also extremely funny to be pleading for your life and fairly convinced it's going to work because you're the same age as your opponent. fellow 25-year-olds, we are in a permanent truce!
BOOK XXI: ACHILLES FIGHTS THE RIVER
he's just that good.
excellent strategy to hear someone's whole life story, all their suffering and sadnesses, plus YOUR involvement in it, and just go "idiot." afterward. this book is like a how-to guide for absolute sass at this point.
BOOK XXII: THE DEATH OF HECTOR
you read this title and you're all hell yeah and then you remember that little scene by the wall with the baby freaked out at the helmet and the wife and and and...
i see what you did there, homer.
and it's only slightly undercut by the beginning of this chapter being about how hector saw achilles and ran away and achilles had to chase him around the city limits thrice.
BOOK XXIII: THE FUNERAL AND THE GAMES
kind of a tough itinerary but okay.
it is a testament to the power and beauty of the conversation between patroclus' spirit and achilles that the reader only spends some time like "okay...kind of insane that we're doing the olympics right now."
BOOK XXIV: PRIAM AND ACHILLES
oh, the humanity!
OVERALL
usually i find the various installments of this project fairly easy to read, because of the whole They Are Very Short thing, but this never ended up feeling effortless. that's fine 鈥� what it did feel was incredibly evocative and impressive, a bajillion years after its writing.
rating: 4
January 6, 2019
3陆 stars
Two mysteries were solved by my finally finishing .
1) It is so obvious why these Ancient Greek stories have survived for so many years-- it's all gory violence and sex. Homer tapped into these marketing tools early.
2) I now understand why puritanical attitudes toward female sexuality developed. Pretty much everything bad that happens is caused by Helen of Troy - "slut that I am" - running off with Paris, and Hera seducing Zeus. The ancients must have read this and been like "please, girls, just... don't".
Also: It seems I may have been too harsh with and her mist-rising, earth-shaking sex scenes. Clearly she was channeling Homer:
It's taken me so long to read this because, every time I tried to start, I kept comparing it to , which I like much more. Odysseus's journey and encounters with creatures such as cannibal giants are very entertaining. And, when it comes down to it, I can only enjoy so many war scenes. Seeing as is all about the Trojan War, there are a lot of war scenes.
BUT it is saved by the Greek gods. What a ridiculous bickering soap opera the Greek pantheon is. I genuinely burst out laughing multiple times. I like the Greek gods because they are so flawed and jealous and vindictive and, um, human. Hera, especially, is a piece of work. I love her. Sometimes you have to wonder what was going through the heads of Ancient Greeks when this is how they imagined their gods. From Hera calling Artemis a "shameless bitch" like something out of Mean Girls, to all the gods supporting their favourite team (Greek or Trojan) in the war like it's a damn football match.
gets better in the last eight books. It is more of a struggle in the beginning (mainly books 4-13) because there are some pages that blend together in a stream of similar-sounding Greek and Trojan men stabbing each other with spears. Often in the nipple or buttocks, too, which seems鈥� peculiar.
I'll stop being silly, though. It is a remarkable - if admittedly sexist - work. It's strange to think how themes and values that were important 3,000 years ago are still important today. I don't know if Homerian spoilers are a thing, but I'll just say that the one death, the death of the story can still be felt so very deeply all these years after its writing. The only thing more tragic than losing the one you love most is knowing you could have prevented it.
I was disappointed my library didn鈥檛 have the Caroline Alexander translation, which is the first English translation by a woman, but Rieu鈥檚 Translation was fantastic. Very smooth reading, unlike another recent read of mine - . I'm glad I finally read it.
| | | |
Two mysteries were solved by my finally finishing .
1) It is so obvious why these Ancient Greek stories have survived for so many years-- it's all gory violence and sex. Homer tapped into these marketing tools early.
2) I now understand why puritanical attitudes toward female sexuality developed. Pretty much everything bad that happens is caused by Helen of Troy - "slut that I am" - running off with Paris, and Hera seducing Zeus. The ancients must have read this and been like "please, girls, just... don't".
Also: It seems I may have been too harsh with and her mist-rising, earth-shaking sex scenes. Clearly she was channeling Homer:
鈥淭he son of Cronus spoke and took his wife in his arms; and the divine earth sent up spring flowers beneath them, dewy clover and crocuses and a soft and crowded bed of hyacinths, to lift them off the ground. In this they lay, covered by a beautiful golden cloud, from which a rain of glistening dewdrops fell.鈥�
It's taken me so long to read this because, every time I tried to start, I kept comparing it to , which I like much more. Odysseus's journey and encounters with creatures such as cannibal giants are very entertaining. And, when it comes down to it, I can only enjoy so many war scenes. Seeing as is all about the Trojan War, there are a lot of war scenes.
BUT it is saved by the Greek gods. What a ridiculous bickering soap opera the Greek pantheon is. I genuinely burst out laughing multiple times. I like the Greek gods because they are so flawed and jealous and vindictive and, um, human. Hera, especially, is a piece of work. I love her. Sometimes you have to wonder what was going through the heads of Ancient Greeks when this is how they imagined their gods. From Hera calling Artemis a "shameless bitch" like something out of Mean Girls, to all the gods supporting their favourite team (Greek or Trojan) in the war like it's a damn football match.
gets better in the last eight books. It is more of a struggle in the beginning (mainly books 4-13) because there are some pages that blend together in a stream of similar-sounding Greek and Trojan men stabbing each other with spears. Often in the nipple or buttocks, too, which seems鈥� peculiar.
I'll stop being silly, though. It is a remarkable - if admittedly sexist - work. It's strange to think how themes and values that were important 3,000 years ago are still important today. I don't know if Homerian spoilers are a thing, but I'll just say that the one death, the death of the story can still be felt so very deeply all these years after its writing. The only thing more tragic than losing the one you love most is knowing you could have prevented it.
I was disappointed my library didn鈥檛 have the Caroline Alexander translation, which is the first English translation by a woman, but Rieu鈥檚 Translation was fantastic. Very smooth reading, unlike another recent read of mine - . I'm glad I finally read it.
| | | |
July 1, 2009
Pablo Picasso spent his entire life trying desperately to do something new, something unique. He moved from style to style, mastering and then abandoning both modern and classical methods, even trying to teach his trained artist's hand to paint like a child.
In 1940, four French teens and a dog stumbled upon a cave that had lain hidden for 16,000 years. Inside, they found the walls covered in beautiful drawings of men and animals. When the Lascaux caves were opened to the public, Pablo Picasso visited them, and as he stared at the prehistoric hunting scenes, was heard to remark in a despondent tone: "We have invented nothing".
The Iliad is equally as humbling to a writer, as complex, beautiful, and honest as any other work. The war scenes play out like a modern film, gory and fast-paced, the ever-present shock of death. Though some have been annoyed at how each man is named (or even given a past) before his death, this gives weight to the action. Each death is has consequence, and as each man steps onto the stage to meet glory or death, Homer gives us a moment to recognize him, to see him amidst the whirling action, and to witness the fate Zeus metes.
The psychological complexity and humanism of this work often shocked me. Homer's depiction of human beings as fundamentally flawed and unable to direct their own lives predicts existentialism. The even hand he gives both the Trojans and the Argives places his work above the later moralizing allegories of Turold, Tasso, or even Milton.
Of course, Homer's is a different world than theirs, one where the sword has not yet become a symbol for righteousness. In Homer, good men die unavenged, and bad men make their way up in the world. Noble empires fall to ravenous fire and the corpses of fresh-limbed young men are desecrated.
Fate does not favor the kind, the weak, the moral, or even the strong. Fate favors some men now, others later, and in the end, none escapes the emptiness of death. Though Homer paints some men as great, as noble and kind and brave, these men do not uphold these ideals for some promised paradise, but simply because they are such men.
There is something refreshing in the purity of the philosophy of living life for yourself and yet expecting no entitlement for your deeds. A philosophy which accepts the uncontrollable winds of fate; that when the dark mist comes across our eyes, no man knows whence he goes.
Later traditions make other claims: that the righteous will be rewarded, that the lives of good men will be good and the bad will be punished. In thousands of years of thinking, of writing, of acting, have we gained nothing but comforting, untenable ideals? Then Picasso was wrong, we have invented something, but it is only a machine which perpetuates itself by peddling self-satisfaction.
I read and enjoyed the Fagles translation, which may not be the most faithful, but strikes that oft-discussed balance between joy of reading and fidelity. He makes no attempt to translate the meter into English, which is a blessing to us. The English language does a few meters well, and Homer's is not one of them.
The footnotes were competent and interesting, though I could have stood a few more of them; perhaps I am in the minority. I also thoroughly enjoyed Knox's introductory essay. I would normally have had to research the scholarly history of the book myself, and so Knox's catch-me-up was much appreciated.
In 1940, four French teens and a dog stumbled upon a cave that had lain hidden for 16,000 years. Inside, they found the walls covered in beautiful drawings of men and animals. When the Lascaux caves were opened to the public, Pablo Picasso visited them, and as he stared at the prehistoric hunting scenes, was heard to remark in a despondent tone: "We have invented nothing".
The Iliad is equally as humbling to a writer, as complex, beautiful, and honest as any other work. The war scenes play out like a modern film, gory and fast-paced, the ever-present shock of death. Though some have been annoyed at how each man is named (or even given a past) before his death, this gives weight to the action. Each death is has consequence, and as each man steps onto the stage to meet glory or death, Homer gives us a moment to recognize him, to see him amidst the whirling action, and to witness the fate Zeus metes.
The psychological complexity and humanism of this work often shocked me. Homer's depiction of human beings as fundamentally flawed and unable to direct their own lives predicts existentialism. The even hand he gives both the Trojans and the Argives places his work above the later moralizing allegories of Turold, Tasso, or even Milton.
Of course, Homer's is a different world than theirs, one where the sword has not yet become a symbol for righteousness. In Homer, good men die unavenged, and bad men make their way up in the world. Noble empires fall to ravenous fire and the corpses of fresh-limbed young men are desecrated.
Fate does not favor the kind, the weak, the moral, or even the strong. Fate favors some men now, others later, and in the end, none escapes the emptiness of death. Though Homer paints some men as great, as noble and kind and brave, these men do not uphold these ideals for some promised paradise, but simply because they are such men.
There is something refreshing in the purity of the philosophy of living life for yourself and yet expecting no entitlement for your deeds. A philosophy which accepts the uncontrollable winds of fate; that when the dark mist comes across our eyes, no man knows whence he goes.
Later traditions make other claims: that the righteous will be rewarded, that the lives of good men will be good and the bad will be punished. In thousands of years of thinking, of writing, of acting, have we gained nothing but comforting, untenable ideals? Then Picasso was wrong, we have invented something, but it is only a machine which perpetuates itself by peddling self-satisfaction.
I read and enjoyed the Fagles translation, which may not be the most faithful, but strikes that oft-discussed balance between joy of reading and fidelity. He makes no attempt to translate the meter into English, which is a blessing to us. The English language does a few meters well, and Homer's is not one of them.
The footnotes were competent and interesting, though I could have stood a few more of them; perhaps I am in the minority. I also thoroughly enjoyed Knox's introductory essay. I would normally have had to research the scholarly history of the book myself, and so Knox's catch-me-up was much appreciated.
March 8, 2025
When I was just 2 years old, my grandmother sent me (from Utah to Central Canada), an LP of Prokofiev - against a storytime backdrop of The Trojan Horse - from the Iliad.
The Trojan Horse comes at the conclusion of Homer's epic.
Everyone knows the Iliad. And everyone talks about it here. But here, I only want to discuss one forgotten element of it. An element ESSENTIAL to constructing a valid modern worldview - for EACH of us.
I always avoided applying this element to my daily life. But I was wrong - so wrong.
Rei Pasa! Those two words sum it all up.
They were written by a Greek gentleman who was roughly the contemporary of Homer - Heraclitus, the ancient pre-Socratic philosopher.
Rei pasa - everything changes.
Inevitably.
As Heraclitus explains elsewhere, 鈥淵ou can鈥檛 step into the same river twice!鈥� EVERYTHING is in movement.
So it is with Homer. In this epic, everything takes place In Medias Res - right, smack dab in the middle of the chaos of everyday life.
That鈥檚 where we all start in our OWN lives. And finish.
And that鈥檚 the ONLY place we鈥檒l ever find Peace.
Now, that seems odd, doesn鈥檛 it?
And it seemed that way for me, too...
Back in 1985 I was harried to the Max by my new furiously high-powered career. I couldn鈥檛 find any place of peace in my life. That鈥檚 the year I started to find solace in Eastern philosophy and New Age Music.
Hey, with this stuff you could get blissed-out in no time! So I weakly thought.
But then the frenetic pace of the workplace sped up. And kept accelerating - all the way to retirement. I felt trapped.
By 1999 I was burning out. I was frazzled. Fried. But on an April day exactly twenty years ago I realized I had no choice but to let it all go - and give it to God.
That was Lev Chestov's response to the aporia of all Milennials, too: the impossible Leap of Faith.
So THAT was when I really knew what In Medias Res REALLY meant.
It鈥檚 not OUR world. It鈥檚 His! Let Him do what He wants for a change - and sit back for the RIDE OF YOUR LIFE.
You鈥檒l never experience the eternal mutability of life until you get to that point.
There鈥檚 just NO WAY - because otherwise YOU, solid, 鈥榰nchanging鈥� you, are always center stage!
You have to let it go - and give it away.
Just like Achilles loses it - and becomes his Fate.
And that鈥檚 why Homer is so colossal.
There鈥檚 just no other way to peace -
At the Eye of the Storm!
The Trojan Horse comes at the conclusion of Homer's epic.
Everyone knows the Iliad. And everyone talks about it here. But here, I only want to discuss one forgotten element of it. An element ESSENTIAL to constructing a valid modern worldview - for EACH of us.
I always avoided applying this element to my daily life. But I was wrong - so wrong.
Rei Pasa! Those two words sum it all up.
They were written by a Greek gentleman who was roughly the contemporary of Homer - Heraclitus, the ancient pre-Socratic philosopher.
Rei pasa - everything changes.
Inevitably.
As Heraclitus explains elsewhere, 鈥淵ou can鈥檛 step into the same river twice!鈥� EVERYTHING is in movement.
So it is with Homer. In this epic, everything takes place In Medias Res - right, smack dab in the middle of the chaos of everyday life.
That鈥檚 where we all start in our OWN lives. And finish.
And that鈥檚 the ONLY place we鈥檒l ever find Peace.
Now, that seems odd, doesn鈥檛 it?
And it seemed that way for me, too...
Back in 1985 I was harried to the Max by my new furiously high-powered career. I couldn鈥檛 find any place of peace in my life. That鈥檚 the year I started to find solace in Eastern philosophy and New Age Music.
Hey, with this stuff you could get blissed-out in no time! So I weakly thought.
But then the frenetic pace of the workplace sped up. And kept accelerating - all the way to retirement. I felt trapped.
By 1999 I was burning out. I was frazzled. Fried. But on an April day exactly twenty years ago I realized I had no choice but to let it all go - and give it to God.
That was Lev Chestov's response to the aporia of all Milennials, too: the impossible Leap of Faith.
So THAT was when I really knew what In Medias Res REALLY meant.
It鈥檚 not OUR world. It鈥檚 His! Let Him do what He wants for a change - and sit back for the RIDE OF YOUR LIFE.
You鈥檒l never experience the eternal mutability of life until you get to that point.
There鈥檚 just NO WAY - because otherwise YOU, solid, 鈥榰nchanging鈥� you, are always center stage!
You have to let it go - and give it away.
Just like Achilles loses it - and becomes his Fate.
And that鈥檚 why Homer is so colossal.
There鈥檚 just no other way to peace -
At the Eye of the Storm!
January 21, 2024
Achilles - sexually ambiguous, rage-prone, has a sensitive tendon.
Patroclus - 'best friend' of Achilles. Ruined everything for everyone.
Odysseus - outsmarted the Trojans, had sex with a witch and a nymph.
Agamemnon - worst husband, worst father, worst Greek, worst human.
Menelaus - lost his wife, literally.
Helen - the face that launched a thousand memes. Has the worst taste in men.
Paris - the biggest fuckboy in Greek mythology. I don't condone child abuse, but I can see why his parents wanted to kill him when he was a baby.
Hector - the perfect son, husband, father, brother, and prince. Tames horses in his spare time.
Andromache - the perfect wife, mother, and princess. The Kate Middleton of Greek mythology.
King Priam - had a hundred children. He's lucky child support didn't exist in ancient times.
Queen Hecuba - had nineteen children and a horny husband.
Briseis - in need of therapy.
Ajax the great - the OG alpha male macho man dude-bro.
Ajax the lesser - I guess he was a beta male?
Hera - to quote Lizzo, it's bad bitch o'clock.
Athena - it's ok to be a virgin. It's even better to be a virgin goddess of wisdom, warfare, and handicraft. I support Athena's war crimes.
Ares - cute but psycho.
Aphrodite - the OG Regina George.
The Myrmidons - The Greek mythology equivalent of Navy Seals
Aeneas - just kind of there.
Thetis - Achilles' sea nymph mommy
Poseidon - petty, vengeful, likes to play with dolphins in his free time (this has never been scientifically proven, it's just a theory)
Hephaestus - got cheated on by Aphrodite and tried to assault Athena, and for that, he will forever be on my shit list.
Hermes - in charge of Mount Olympus' post office.
Artemis - a cool virgin who likes to hunt.
Apollo - doesn't know the meaning of consent.
Zeus - doesn't know the meaning of consent.
Should I review the Odyssey? Was Odysseus the victim of a curse, or did he just not want to go home to his wife? 'Lost at sea' is the Greek mythology equivalent of 'going out for cigarettes.'
Greek mythology is unhinged, and I wouldn't have it any other way. I have a confession to make: I love the movie Troy. Critics make fun of it. Historians treat it like a redheaded stepchild. I don't care. I love it. My opinion has nothing to do with a skirt-clad Brad Pitt.
Patroclus - 'best friend' of Achilles. Ruined everything for everyone.
Odysseus - outsmarted the Trojans, had sex with a witch and a nymph.
Agamemnon - worst husband, worst father, worst Greek, worst human.
Menelaus - lost his wife, literally.
Helen - the face that launched a thousand memes. Has the worst taste in men.
Paris - the biggest fuckboy in Greek mythology. I don't condone child abuse, but I can see why his parents wanted to kill him when he was a baby.
Hector - the perfect son, husband, father, brother, and prince. Tames horses in his spare time.
Andromache - the perfect wife, mother, and princess. The Kate Middleton of Greek mythology.
King Priam - had a hundred children. He's lucky child support didn't exist in ancient times.
Queen Hecuba - had nineteen children and a horny husband.
Briseis - in need of therapy.
Ajax the great - the OG alpha male macho man dude-bro.
Ajax the lesser - I guess he was a beta male?
Hera - to quote Lizzo, it's bad bitch o'clock.
Athena - it's ok to be a virgin. It's even better to be a virgin goddess of wisdom, warfare, and handicraft. I support Athena's war crimes.
Ares - cute but psycho.
Aphrodite - the OG Regina George.
The Myrmidons - The Greek mythology equivalent of Navy Seals
Aeneas - just kind of there.
Thetis - Achilles' sea nymph mommy
Poseidon - petty, vengeful, likes to play with dolphins in his free time (this has never been scientifically proven, it's just a theory)
Hephaestus - got cheated on by Aphrodite and tried to assault Athena, and for that, he will forever be on my shit list.
Hermes - in charge of Mount Olympus' post office.
Artemis - a cool virgin who likes to hunt.
Apollo - doesn't know the meaning of consent.
Zeus - doesn't know the meaning of consent.
Should I review the Odyssey? Was Odysseus the victim of a curse, or did he just not want to go home to his wife? 'Lost at sea' is the Greek mythology equivalent of 'going out for cigarettes.'
Greek mythology is unhinged, and I wouldn't have it any other way. I have a confession to make: I love the movie Troy. Critics make fun of it. Historians treat it like a redheaded stepchild. I don't care. I love it. My opinion has nothing to do with a skirt-clad Brad Pitt.
August 20, 2021
峒肝晃刮� = The Iliad, Homer
The Iliad is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer.
Set during the Trojan War, the ten-year siege of the city of Troy (Ilium) by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
Characters: Ajax, Odysseus, Helen of Troy, Menelaus, Paris, Hector, Achilles, Agamemnon, Aeneas, Sarpedon, Priam, Cassandra, Patroclus, Diomedes, Ajax Oileus, Andromache, Briseis, Hecuba, Nestor, Akhilleus.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賳禺爻鬲 賲丕賴 跇丕賳賵蹖賴 爻丕賱 1973賲蹖賱丕丿蹖
毓賳賵丕賳: 丕蹖賱蹖丕丿貨 卮丕毓乇: 賴賵賲乇貨 賲鬲乇噩賲: 爻毓蹖丿 賳賮蹖爻蹖貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 1334貨 丿乇 720氐貨 賲賵囟賵毓: 丿丕爻鬲丕賳 噩賳诏 鬲乇賵丕 丕夭 賳賵蹖爻賳丿诏丕賳 蹖賵賳丕賳 - 爻丿賴 08倬蹖卮 丕夭 賲蹖賱丕丿
毓賳賵丕賳: 丕蹖賱蹖丕丿貨 卮丕毓乇: 賴賵賲乇貙 賲鬲乇噩賲: 賲蹖乇噩賱丕賱 丕賱丿蹖賳 讴夭賾丕夭蹖貨 鬲賴乇丕賳貙 賳卮乇 賲乇讴夭貙 1377貨 丿乇 579氐貨 卮丕亘讴 9643053865貨 趩丕倬 丿賵賲 1381貨 趩丕倬 倬賳噩賲 1385貨 趩丕倬 卮卮賲 1387貨 卮丕亘讴 9789643053864貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 讴賴賳 丕夭 賳賵蹖爻賳丿诏丕賳 蹖賵賳丕賳蹖 - 爻丿賴 08倬蹖卮 丕夭 賲蹖賱丕丿
丕孬乇 丨賲丕爻蹖 丕夭 芦賴賵賲乇禄貙 卮丕毓乇 賳丕亘蹖賳丕蹖 芦蹖賵賳丕賳蹖禄 丕爻鬲貙 丿丕爻鬲丕賳 噩賳诏 芦鬲乇賵丕禄貙 亘禺丕胤乇 乇亘賵丿賳 芦賴賱賳禄貙 夭锟斤拷 夭蹖亘丕乇賵蹖 芦賲賳賱丕爻禄貙 蹖讴蹖 丕夭 賮乇賲丕賳乇賵丕蹖丕賳 芦蹖賵賳丕賳禄貙 亘賴 丿爻鬲 芦倬丕乇蹖爻禄 倬爻乇 芦倬乇蹖丕賲禄貙 卮丕賴 芦丕蹖賱蹖賵賳 (鬲乇賵丕)禄 丕爻鬲貙 禺賵丕爻鬲诏丕乇丕賳 芦賴賱賳禄貙 亘丕賴賲 倬蹖賲丕賳 亘爻鬲賴 亘賵丿賳丿貙 讴賴 趩賳丕賳趩賴 诏夭賳丿蹖 亘賴 芦賴賱賳禄 乇爻蹖丿貙 卮賵蹖 丕賵 乇丕 亘乇丕蹖 賲讴丕賮丕鬲 賲噩乇賲 蹖丕乇蹖 丿賴賳丿貨 丕夭 丕蹖賳乇賵蹖 爻倬丕賴蹖 亘夭乇诏貙 亘賴 賮乇賲丕賳丿賴蹖 芦丌诏丕賲賲賳賵賳禄貙 賵 亘丕 丨囟賵乇 倬賴賱賵丕賳丕賳蹖 賴賲趩賵賳: 芦丌卮蹖賱禄貙 芦丕賵賱蹖爻禄貙 芦倬丕鬲乇賵讴賱禄貙 芦丌蹖丕爻 (丌跇丕讴爻) 禄賵...貨 丌乇丕爻鬲賳丿貙 賵 亘賴 爻賵蹖 卮賴乇 芦鬲乇賵丕禄 乇賵丕賳賴 卮丿賳丿貙 鬲丕 芦賴賱賳禄 乇丕 丕夭 芦倬丕乇蹖爻禄 亘丕夭倬爻 亘诏蹖乇賳丿貨
爻倬丕賴蹖丕賳 芦蹖賵賳丕賳禄貙 丿賴 爻丕賱 芦鬲乇賵丕禄 乇丕 賲丨丕氐乇賴 讴乇丿賳丿貙 賵賱蹖 亘丕 乇卮丕丿鬲賴丕蹖 倬賴賱賵丕賳丕賳 芦鬲乇賵丕禄貙 亘賴 賵蹖跇賴 芦賴讴鬲賵乇禄 亘夭乇诏鬲乇蹖賳 倬爻乇 卮丕賴貙 賵 亘乇丕丿乇 芦倬丕乇蹖爻禄貙 賵 倬卮鬲蹖亘丕賳蹖 禺丿丕蹖丕賳蹖 賴賲趩賵賳 芦夭卅賵爻禄貙 芦丌賮乇賵丿蹖鬲禄貙 賵 芦丌倬賵賱賵賳禄 胤乇賮蹖 賳亘爻鬲賳丿貨 丿乇 丌賳 爻丕賱賴丕 芦丌卮蹖賱禄貙 亘夭乇诏賵丕乇鬲乇蹖賳 倬卮鬲賵丕賳賴 蹖 蹖賵賳丕賳蹖丕賳 亘丕 芦丌诏丕賲賲賳賵賳禄 丕禺鬲賱丕賮 丿丕卮鬲貙 噩亘賴賴 乇丕 乇賴丕 讴乇丿賴貙 賵 丿乇 诏賵卮賴 丕蹖貙 亘賴 賴賲乇丕賴 蹖丕乇丕賳 禺賵蹖卮貙 賳亘乇丿 乇丕 鬲賲丕卮丕 賲蹖讴乇丿貨 鬲丕 丕蹖賳讴賴 芦倬丕鬲乇賵讴賱禄 倬爻乇毓賲賵蹖 芦丌卮蹖賱禄貙 亘丕 賱亘丕爻 賵 噩賳诏 丕亘夭丕乇 丌爻賲丕賳蹖 芦丌卮蹖賱禄貙 亘賴 賳亘乇丿 乇賮鬲貨 賵賱蹖 亘丕 賳蹖乇賳诏 芦夭卅賵爻禄貙 賵 丿卮賲賳蹖 芦丌倬賵賱賵賳禄貙 賵 丿蹖诏乇 禺丿丕蹖丕賳 賴賵丕丿丕乇 芦鬲乇賵丕禄貙 芦倬丕鬲乇賵讴賱禄 卮讴爻鬲 禺賵乇丿貙 賵 亘賴 丿爻鬲 芦賴讴鬲賵乇禄 讴卮鬲賴 卮丿貨 芦丌卮蹖賱禄 丕夭 丌賳 乇賵蹖丿丕丿 禺卮賲诏蹖賳 卮丿貙 賵 丕禺鬲賱丕賮卮 亘丕 芦丌诏丕賲賲賳賵賳禄 乇丕 讴賳丕乇 亘诏匕丕卮鬲貙 賵 倬爻 丕夭 鬲卮蹖蹖毓 噩賳丕夭賴 蹖 芦倬丕鬲乇賵讴賱禄貙 亘賴 賳亘乇丿 鬲賳 亘賴 鬲賳 亘丕 芦賴讴鬲賵乇禄 倬乇丿丕禺鬲貙 賵 丕賵 乇丕 卮讴爻鬲 丿丕丿
爻倬爻 亘賴 噩賳丕夭賴 蹖 芦賴讴鬲賵乇禄 亘蹖 丕丨鬲乇丕賲蹖 乇賵丕 丿丕卮鬲貙 賵 丌賳乇丕 亘丕 禺賵丿 亘賴 丕乇丿賵诏丕賴 芦蹖賵賳丕賳蹖丕賳禄 丌賵乇丿貨 芦倬乇蹖丕賲禄 卮丕賴 芦鬲乇賵丕禄貙 亘賴 蹖丕乇蹖 禺丿丕蹖丕賳貙 卮亘丕賳賴 禺賵丿 乇丕 亘賴 丕乇丿賵诏丕賴 芦丌卮蹖賱禄 乇爻丕賳丿貙 賵 亘丕 夭丕乇蹖 丕夭 丕賵 丿乇禺賵丕爻鬲 讴乇丿貙 讴賴 噩賳丕夭賴 蹖 倬爻乇卮 乇丕 亘賴 丕賵 亘乇诏乇丿丕賳賳丿貙 鬲丕 亘鬲賵丕賳丿 賲乇丕爻賲蹖 丿乇 禺賵乇 亘夭乇诏蹖 倬賴賱賵丕賳 丨賲丕爻賴 爻丕夭 鬲乇鬲蹖亘 丿賴丿貨 倬爻 丕夭 诏賮鬲诏賵蹖 亘爻蹖丕乇貙 芦丌卮蹖賱禄 倬匕蹖乇賮鬲貨
丿丕爻鬲丕賳 芦丕蹖賱蹖丕丿禄 丕孬乇 芦賴賵賲乇禄貙 亘丕 鬲賵氐蹖賮 爻賵夭丕賳丿賳 芦賴讴鬲賵乇禄 丿乇 芦鬲乇賵丕禄貙 賵 亘賴 爻賵诏 賳卮爻鬲賳 賲乇丿賲丕賳 卮賴乇貙 亘乇丕蹖 芦賴讴鬲賵乇禄 亘賴 倬丕蹖丕賳 賲蹖乇爻丿貨
丿乇 讴鬲丕亘: 芦丕蹖賱蹖丕丿禄貙 賵 賴賲趩賳蹖賳 丿乇 讴鬲丕亘 丿蹖诏乇 芦賴賵賲乇禄: 芦丕賵丿蹖爻賴禄貙 賴乇诏夭 丕卮丕乇賴 賵 爻禺賳蹖 丕夭 賳丨賵賴 蹖 倬丕蹖丕賳 賳亘乇丿 芦鬲乇賵丕禄貙 賵 爻乇賳賵卮鬲 鬲乇丕跇蹖讴 芦丌卮蹖賱禄 賳蹖爻鬲貨 丿丕爻鬲丕賳賴丕蹖 芦丕爻亘 鬲乇賵丕禄貙 丿乇 丌孬丕乇 賳賵蹖爻賳丿诏丕賳 芦乇賵賲蹖禄貙 賴賲趩賵賳 芦賵蹖乇跇蹖賱禄貙 賵 芦丕賵賵蹖丿禄 丌賲丿賴 丕爻鬲貙 賵 丕賮爻丕賳賴 蹖 乇賵蹖蹖賳 鬲賳 亘賵丿賳 芦丌卮蹖賱禄 賵 賲丕噩乇丕蹖 倬丕卮賳賴 蹖 芦丌卮蹖賱禄 丕賵 乇丕 賳蹖夭貙 讴賴 亘賴 賲乇诏卮 賲蹖丕賳噩丕賲丿貙 卮丕毓乇 芦乇賲蹖禄 爻丿賴 蹖 賳禺爻鬲 賲蹖賱丕丿蹖 芦丕爻鬲丕鬲蹖賵爻禄貙 丿乇 讴鬲丕亘 禺賵丿 亘丕 毓賳賵丕賳: 芦丌卮蹖賱蹖丿禄貙 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 丌乇丕爻鬲賴貙 賵 亘賴 丌賳 丿丕爻鬲丕賳貙 倬乇丿丕禺鬲賴 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 28/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 28/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Iliad is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer.
Set during the Trojan War, the ten-year siege of the city of Troy (Ilium) by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles.
Characters: Ajax, Odysseus, Helen of Troy, Menelaus, Paris, Hector, Achilles, Agamemnon, Aeneas, Sarpedon, Priam, Cassandra, Patroclus, Diomedes, Ajax Oileus, Andromache, Briseis, Hecuba, Nestor, Akhilleus.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賳禺爻鬲 賲丕賴 跇丕賳賵蹖賴 爻丕賱 1973賲蹖賱丕丿蹖
毓賳賵丕賳: 丕蹖賱蹖丕丿貨 卮丕毓乇: 賴賵賲乇貨 賲鬲乇噩賲: 爻毓蹖丿 賳賮蹖爻蹖貨 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 1334貨 丿乇 720氐貨 賲賵囟賵毓: 丿丕爻鬲丕賳 噩賳诏 鬲乇賵丕 丕夭 賳賵蹖爻賳丿诏丕賳 蹖賵賳丕賳 - 爻丿賴 08倬蹖卮 丕夭 賲蹖賱丕丿
毓賳賵丕賳: 丕蹖賱蹖丕丿貨 卮丕毓乇: 賴賵賲乇貙 賲鬲乇噩賲: 賲蹖乇噩賱丕賱 丕賱丿蹖賳 讴夭賾丕夭蹖貨 鬲賴乇丕賳貙 賳卮乇 賲乇讴夭貙 1377貨 丿乇 579氐貨 卮丕亘讴 9643053865貨 趩丕倬 丿賵賲 1381貨 趩丕倬 倬賳噩賲 1385貨 趩丕倬 卮卮賲 1387貨 卮丕亘讴 9789643053864貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 讴賴賳 丕夭 賳賵蹖爻賳丿诏丕賳 蹖賵賳丕賳蹖 - 爻丿賴 08倬蹖卮 丕夭 賲蹖賱丕丿
丕孬乇 丨賲丕爻蹖 丕夭 芦賴賵賲乇禄貙 卮丕毓乇 賳丕亘蹖賳丕蹖 芦蹖賵賳丕賳蹖禄 丕爻鬲貙 丿丕爻鬲丕賳 噩賳诏 芦鬲乇賵丕禄貙 亘禺丕胤乇 乇亘賵丿賳 芦賴賱賳禄貙 夭锟斤拷 夭蹖亘丕乇賵蹖 芦賲賳賱丕爻禄貙 蹖讴蹖 丕夭 賮乇賲丕賳乇賵丕蹖丕賳 芦蹖賵賳丕賳禄貙 亘賴 丿爻鬲 芦倬丕乇蹖爻禄 倬爻乇 芦倬乇蹖丕賲禄貙 卮丕賴 芦丕蹖賱蹖賵賳 (鬲乇賵丕)禄 丕爻鬲貙 禺賵丕爻鬲诏丕乇丕賳 芦賴賱賳禄貙 亘丕賴賲 倬蹖賲丕賳 亘爻鬲賴 亘賵丿賳丿貙 讴賴 趩賳丕賳趩賴 诏夭賳丿蹖 亘賴 芦賴賱賳禄 乇爻蹖丿貙 卮賵蹖 丕賵 乇丕 亘乇丕蹖 賲讴丕賮丕鬲 賲噩乇賲 蹖丕乇蹖 丿賴賳丿貨 丕夭 丕蹖賳乇賵蹖 爻倬丕賴蹖 亘夭乇诏貙 亘賴 賮乇賲丕賳丿賴蹖 芦丌诏丕賲賲賳賵賳禄貙 賵 亘丕 丨囟賵乇 倬賴賱賵丕賳丕賳蹖 賴賲趩賵賳: 芦丌卮蹖賱禄貙 芦丕賵賱蹖爻禄貙 芦倬丕鬲乇賵讴賱禄貙 芦丌蹖丕爻 (丌跇丕讴爻) 禄賵...貨 丌乇丕爻鬲賳丿貙 賵 亘賴 爻賵蹖 卮賴乇 芦鬲乇賵丕禄 乇賵丕賳賴 卮丿賳丿貙 鬲丕 芦賴賱賳禄 乇丕 丕夭 芦倬丕乇蹖爻禄 亘丕夭倬爻 亘诏蹖乇賳丿貨
爻倬丕賴蹖丕賳 芦蹖賵賳丕賳禄貙 丿賴 爻丕賱 芦鬲乇賵丕禄 乇丕 賲丨丕氐乇賴 讴乇丿賳丿貙 賵賱蹖 亘丕 乇卮丕丿鬲賴丕蹖 倬賴賱賵丕賳丕賳 芦鬲乇賵丕禄貙 亘賴 賵蹖跇賴 芦賴讴鬲賵乇禄 亘夭乇诏鬲乇蹖賳 倬爻乇 卮丕賴貙 賵 亘乇丕丿乇 芦倬丕乇蹖爻禄貙 賵 倬卮鬲蹖亘丕賳蹖 禺丿丕蹖丕賳蹖 賴賲趩賵賳 芦夭卅賵爻禄貙 芦丌賮乇賵丿蹖鬲禄貙 賵 芦丌倬賵賱賵賳禄 胤乇賮蹖 賳亘爻鬲賳丿貨 丿乇 丌賳 爻丕賱賴丕 芦丌卮蹖賱禄貙 亘夭乇诏賵丕乇鬲乇蹖賳 倬卮鬲賵丕賳賴 蹖 蹖賵賳丕賳蹖丕賳 亘丕 芦丌诏丕賲賲賳賵賳禄 丕禺鬲賱丕賮 丿丕卮鬲貙 噩亘賴賴 乇丕 乇賴丕 讴乇丿賴貙 賵 丿乇 诏賵卮賴 丕蹖貙 亘賴 賴賲乇丕賴 蹖丕乇丕賳 禺賵蹖卮貙 賳亘乇丿 乇丕 鬲賲丕卮丕 賲蹖讴乇丿貨 鬲丕 丕蹖賳讴賴 芦倬丕鬲乇賵讴賱禄 倬爻乇毓賲賵蹖 芦丌卮蹖賱禄貙 亘丕 賱亘丕爻 賵 噩賳诏 丕亘夭丕乇 丌爻賲丕賳蹖 芦丌卮蹖賱禄貙 亘賴 賳亘乇丿 乇賮鬲貨 賵賱蹖 亘丕 賳蹖乇賳诏 芦夭卅賵爻禄貙 賵 丿卮賲賳蹖 芦丌倬賵賱賵賳禄貙 賵 丿蹖诏乇 禺丿丕蹖丕賳 賴賵丕丿丕乇 芦鬲乇賵丕禄貙 芦倬丕鬲乇賵讴賱禄 卮讴爻鬲 禺賵乇丿貙 賵 亘賴 丿爻鬲 芦賴讴鬲賵乇禄 讴卮鬲賴 卮丿貨 芦丌卮蹖賱禄 丕夭 丌賳 乇賵蹖丿丕丿 禺卮賲诏蹖賳 卮丿貙 賵 丕禺鬲賱丕賮卮 亘丕 芦丌诏丕賲賲賳賵賳禄 乇丕 讴賳丕乇 亘诏匕丕卮鬲貙 賵 倬爻 丕夭 鬲卮蹖蹖毓 噩賳丕夭賴 蹖 芦倬丕鬲乇賵讴賱禄貙 亘賴 賳亘乇丿 鬲賳 亘賴 鬲賳 亘丕 芦賴讴鬲賵乇禄 倬乇丿丕禺鬲貙 賵 丕賵 乇丕 卮讴爻鬲 丿丕丿
爻倬爻 亘賴 噩賳丕夭賴 蹖 芦賴讴鬲賵乇禄 亘蹖 丕丨鬲乇丕賲蹖 乇賵丕 丿丕卮鬲貙 賵 丌賳乇丕 亘丕 禺賵丿 亘賴 丕乇丿賵诏丕賴 芦蹖賵賳丕賳蹖丕賳禄 丌賵乇丿貨 芦倬乇蹖丕賲禄 卮丕賴 芦鬲乇賵丕禄貙 亘賴 蹖丕乇蹖 禺丿丕蹖丕賳貙 卮亘丕賳賴 禺賵丿 乇丕 亘賴 丕乇丿賵诏丕賴 芦丌卮蹖賱禄 乇爻丕賳丿貙 賵 亘丕 夭丕乇蹖 丕夭 丕賵 丿乇禺賵丕爻鬲 讴乇丿貙 讴賴 噩賳丕夭賴 蹖 倬爻乇卮 乇丕 亘賴 丕賵 亘乇诏乇丿丕賳賳丿貙 鬲丕 亘鬲賵丕賳丿 賲乇丕爻賲蹖 丿乇 禺賵乇 亘夭乇诏蹖 倬賴賱賵丕賳 丨賲丕爻賴 爻丕夭 鬲乇鬲蹖亘 丿賴丿貨 倬爻 丕夭 诏賮鬲诏賵蹖 亘爻蹖丕乇貙 芦丌卮蹖賱禄 倬匕蹖乇賮鬲貨
丿丕爻鬲丕賳 芦丕蹖賱蹖丕丿禄 丕孬乇 芦賴賵賲乇禄貙 亘丕 鬲賵氐蹖賮 爻賵夭丕賳丿賳 芦賴讴鬲賵乇禄 丿乇 芦鬲乇賵丕禄貙 賵 亘賴 爻賵诏 賳卮爻鬲賳 賲乇丿賲丕賳 卮賴乇貙 亘乇丕蹖 芦賴讴鬲賵乇禄 亘賴 倬丕蹖丕賳 賲蹖乇爻丿貨
丿乇 讴鬲丕亘: 芦丕蹖賱蹖丕丿禄貙 賵 賴賲趩賳蹖賳 丿乇 讴鬲丕亘 丿蹖诏乇 芦賴賵賲乇禄: 芦丕賵丿蹖爻賴禄貙 賴乇诏夭 丕卮丕乇賴 賵 爻禺賳蹖 丕夭 賳丨賵賴 蹖 倬丕蹖丕賳 賳亘乇丿 芦鬲乇賵丕禄貙 賵 爻乇賳賵卮鬲 鬲乇丕跇蹖讴 芦丌卮蹖賱禄 賳蹖爻鬲貨 丿丕爻鬲丕賳賴丕蹖 芦丕爻亘 鬲乇賵丕禄貙 丿乇 丌孬丕乇 賳賵蹖爻賳丿诏丕賳 芦乇賵賲蹖禄貙 賴賲趩賵賳 芦賵蹖乇跇蹖賱禄貙 賵 芦丕賵賵蹖丿禄 丌賲丿賴 丕爻鬲貙 賵 丕賮爻丕賳賴 蹖 乇賵蹖蹖賳 鬲賳 亘賵丿賳 芦丌卮蹖賱禄 賵 賲丕噩乇丕蹖 倬丕卮賳賴 蹖 芦丌卮蹖賱禄 丕賵 乇丕 賳蹖夭貙 讴賴 亘賴 賲乇诏卮 賲蹖丕賳噩丕賲丿貙 卮丕毓乇 芦乇賲蹖禄 爻丿賴 蹖 賳禺爻鬲 賲蹖賱丕丿蹖 芦丕爻鬲丕鬲蹖賵爻禄貙 丿乇 讴鬲丕亘 禺賵丿 亘丕 毓賳賵丕賳: 芦丌卮蹖賱蹖丿禄貙 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 丌乇丕爻鬲賴貙 賵 亘賴 丌賳 丿丕爻鬲丕賳貙 倬乇丿丕禺鬲賴 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 28/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 28/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
September 12, 2024
The Achilles!
Oh, Achilles! Achilles! You steal every scene that you are in. You have made this my favorite poem of all time (and I love others).
Your reputation for being stubborn, arrogant and hateful are conveniently brushed aside, precisely because the people that you kill are as misogynistic, brutal and violent as you.
But you have your saving graces. You are humorous, but never humble. You are intelligent, but also ignorant and you are majestic as well as manly ( I don鈥檛 think of that as a positive).
So the poem of a war between Greek and Trojan heroes is finished. Good night, to you.
Five fabulous stars. 猸愶笍猸愶笍猸愶笍猸愶笍猸愶笍
Oh, Achilles! Achilles! You steal every scene that you are in. You have made this my favorite poem of all time (and I love others).
Your reputation for being stubborn, arrogant and hateful are conveniently brushed aside, precisely because the people that you kill are as misogynistic, brutal and violent as you.
But you have your saving graces. You are humorous, but never humble. You are intelligent, but also ignorant and you are majestic as well as manly ( I don鈥檛 think of that as a positive).
So the poem of a war between Greek and Trojan heroes is finished. Good night, to you.
Five fabulous stars. 猸愶笍猸愶笍猸愶笍猸愶笍猸愶笍
April 5, 2019
as a native english speaker, im not exposed to translated books very often; so this reread is the first time where i have truly comprehended the significance of a translation and how it can either make or break a story.
i first read parts of 鈥榯he iliad鈥� back when i was in school and i just remember the text being very stiff and formal. it did not hold my attention at all because i couldnt understand it. but as i have come to love this story over the years (through retellings and other media), i decided to give this another try. after a lot of research, i chose this edition and translation, and i cannot stress enough how it has made all the difference.
the epic of 鈥榯he iliad鈥� has its roots in oral storytelling and i am so impressed at how the flow of the language in this feels like someone is sitting next to me, personally telling me a tale about the best of greeks and their plight against the trojans. its a really neat feeling to experience such an authentic nod to homer and how he told this story, almost to the point where i feel as if i have been a part of this epics great history.
鈫� 5 stars
i first read parts of 鈥榯he iliad鈥� back when i was in school and i just remember the text being very stiff and formal. it did not hold my attention at all because i couldnt understand it. but as i have come to love this story over the years (through retellings and other media), i decided to give this another try. after a lot of research, i chose this edition and translation, and i cannot stress enough how it has made all the difference.
the epic of 鈥榯he iliad鈥� has its roots in oral storytelling and i am so impressed at how the flow of the language in this feels like someone is sitting next to me, personally telling me a tale about the best of greeks and their plight against the trojans. its a really neat feeling to experience such an authentic nod to homer and how he told this story, almost to the point where i feel as if i have been a part of this epics great history.
鈫� 5 stars
June 10, 2023
The Iliad; "a poem about Ilium (Troy)" is one of two major ancient Greek epic poems attributed to Homer. As with the Odyssey, the poem is divided into 24 books and was written in dactylic hexameter. It contains 15,693 lines in its most widely accepted version. Set towards the end of the Trojan War, a ten-year siege of the city of Troy by a coalition of Mycenaean Greek states, the poem depicts significant events in the siege's final weeks. In particular, the fierce quarrel between King Agamemnon and the celebrated warrior, Achilles.
There are two human beings in the poem who are godlike, Achilles and Helen. Helen, the "cause" of the war, is a sort of human Aphrodite. She is irresistible. Every king in Greece was ready to fight for her hand in marriage, but she chose Menelaus, King of Sparta. When Paris, the Prince of Troy, came to visit, she ran off with him [or was abducted by him, depending on how one interprets the story], leaving husband and daughter, without a thought of the consequences for others. When she left with Paris she acted like a god, with no thought of anything but the fulfilment of her own desire. However, at the beginning of the Iliad, she has already recognised her flaws. She feels responsible for the human misery she sees all around her, something the gods never do. The gods feel no responsibility for the human victims of their private wars.
At the beginning of the Iliad Helen has already broken out of the prison of self-absorption, but this is the point at which Achilles enters it. The Iliad shows the origin, course and consequences of his rage, his imprisonment in a godlike, lonely, heroic fury from which all the rest of the world is excluded, and also his return to human stature. The road to this final release is long and grim, strewn with the corpses of many a Greek and Trojan, and it leads finally to his own death.
Achilles plays no part in the events described in Books 2 through 8; he sits by his ships on the shore, waiting for the fulfilment of his mother's promise. And by the end of Book 8, the supplication of Thetis and the will of Zeus have begun to produce results. The Greeks are in retreat, penned up in their hastily fortified camp at nightfall, awaiting the Trojan assault, which will come with daybreak. And Agamemnon yields to Nestor's advice to send an embassy to Achilles, urging him to return to the battle line. It is a magnificent offer, but there is one thing missing: Agamemnon offers no apology, no admission that he was in the wrong. Therefore, Achilles rejects this embassy and any other that may be sent. He vows to sail home the next day, with all his men.
Due to a string of events [mainly the death of his beloved fellow warrior Patroclus at the hands of Hector, Prince of Troy], Achilles decides to join the war after all. When he does go into battle, the Trojans turn and run for the gates; only Hector remains outside. And the two champions come face-to-face at last. The contrast between the raw, self-absorbed fury of Achilles and the civilised responsibility and restraint of Hector is maintained to the end. It is of his people, the Trojans, that Hector is thinking as he throws his spear at Achilles: 鈥淗ow much lighter the war would be for Trojans then / if you, their greatest scourge, were dead and gone!鈥�
But it is Hector who dies, and as Achilles exults over his fallen enemy, his words bring home again the fact that he is fighting for himself alone; this is the satisfaction of a personal hatred. He taunts Hector with the fate of his body. And in answer to Hector's plea and offer of ransom for his corpse, he reveals the extreme inhuman hatred and fury he has reached: 鈥淏eg no more, you fawning dog 鈥� begging me by my parents! / Would to god my rage, my fury would drive me now / to hack your flesh away and eat you raw 鈥撯€� This is how the gods hate. His words recall those of Zeus to Hera in Book 4: 鈥淥nly if you could breach / their gates and their long walls and devour Priam鈥�.
Achilles lashes Hector's body to his chariot, and, in full view of the Trojans on the walls, drags it to his tent, where he organises a magnificent funeral for Patroclus. All through the funeral games he acts with a tact, diplomacy and generosity that seem to signal the end of his desperate isolation, his godlike self-absorption; we almost forget that Hector's corpse is still lying in the dust, tied to his chariot, and that Achilles refuses the will of Zeus, refuses to surrender Hector's body to his father Priam.
Only when Priam himself visits Achilles in his tent and kisses his hand does Achilles break out at last from the prison of self-absorbed, godlike passion. Achilles takes Priam's hands and begins to weep. But not for Priam but for his own aged father, to whose memory Priam had appealed and who will soon, like Priam, lose a son.
Achilles goes to collect the ransom, and when he orders Hector's body to be washed and anointed, he gives orders to have it done out of Priam's sight: 鈥淗e feared that, overwhelmed by the sight of Hector, / wild with grief, Priam might let his anger flare / and Achilles might fly into fresh rage himself, / cut the old man down 鈥︹€� He knows himself. This is a new Achilles, who can feel pity for others. For the first time he shows self-knowledge and acts to prevent the calamity his violent temper might bring about. It is as near to self-criticism as he ever gets, but it marks the point at which he ceases to be godlike Achilles and becomes a human being in the full sense of the word.
The tragic course of Achilles' rage, his final recognition of human values 鈥撎齮his is the guiding theme of the poem, and it is developed against a background of violence and death. But the grim progress of the war is interrupted by scenes which remind us that the brutality of war is not the whole of it. Except for Achilles, whose worship of violence falters only in the final moment of pity for Priam, the yearning for peace and its creative possibilities is never far below the surface of the warriors' minds. This is most poignantly expressed by the scenes that take place in Troy, especially the farewell scene between Hector and Andromache. (<3) But it is not enough. The Iliad remains a terrifying poem. Achilles, just before his death, is redeemed as a human being, but there is no consolation for the death of Hector. We are left with a sense of waste, which is not adequately balanced even by the greatness of the heroic figures and the action; the scale descends towards loss. The Iliad remains not only the greatest epic poem in literature but also the most tragic.
The death of Hector seals the fate of Troy; it will fall to the Achaeans, to become the pattern for all time of the death of a city. The images of that night assault 鈥� the blazing palaces, the blood running in the streets, old Priam butchered at the altar, Cassandra raped in the temple, Hector's baby son thrown from the battlements, his wife Andromache dragged off to slavery 鈥� all this, foreshadowed in the Iliad, will be stamped indelibly on the consciousness of the Greeks throughout their history, immortalised in lyric poetry, in tragedy, on temple pediments and painted vases, to reinforce the stern lesson of Homer's presentation of war: that no civilisation, no matter how rich, no matter how refined, can long survive once it loses the power to meet force with equal or superior force.
There are two human beings in the poem who are godlike, Achilles and Helen. Helen, the "cause" of the war, is a sort of human Aphrodite. She is irresistible. Every king in Greece was ready to fight for her hand in marriage, but she chose Menelaus, King of Sparta. When Paris, the Prince of Troy, came to visit, she ran off with him [or was abducted by him, depending on how one interprets the story], leaving husband and daughter, without a thought of the consequences for others. When she left with Paris she acted like a god, with no thought of anything but the fulfilment of her own desire. However, at the beginning of the Iliad, she has already recognised her flaws. She feels responsible for the human misery she sees all around her, something the gods never do. The gods feel no responsibility for the human victims of their private wars.
At the beginning of the Iliad Helen has already broken out of the prison of self-absorption, but this is the point at which Achilles enters it. The Iliad shows the origin, course and consequences of his rage, his imprisonment in a godlike, lonely, heroic fury from which all the rest of the world is excluded, and also his return to human stature. The road to this final release is long and grim, strewn with the corpses of many a Greek and Trojan, and it leads finally to his own death.
Achilles plays no part in the events described in Books 2 through 8; he sits by his ships on the shore, waiting for the fulfilment of his mother's promise. And by the end of Book 8, the supplication of Thetis and the will of Zeus have begun to produce results. The Greeks are in retreat, penned up in their hastily fortified camp at nightfall, awaiting the Trojan assault, which will come with daybreak. And Agamemnon yields to Nestor's advice to send an embassy to Achilles, urging him to return to the battle line. It is a magnificent offer, but there is one thing missing: Agamemnon offers no apology, no admission that he was in the wrong. Therefore, Achilles rejects this embassy and any other that may be sent. He vows to sail home the next day, with all his men.
Due to a string of events [mainly the death of his beloved fellow warrior Patroclus at the hands of Hector, Prince of Troy], Achilles decides to join the war after all. When he does go into battle, the Trojans turn and run for the gates; only Hector remains outside. And the two champions come face-to-face at last. The contrast between the raw, self-absorbed fury of Achilles and the civilised responsibility and restraint of Hector is maintained to the end. It is of his people, the Trojans, that Hector is thinking as he throws his spear at Achilles: 鈥淗ow much lighter the war would be for Trojans then / if you, their greatest scourge, were dead and gone!鈥�
But it is Hector who dies, and as Achilles exults over his fallen enemy, his words bring home again the fact that he is fighting for himself alone; this is the satisfaction of a personal hatred. He taunts Hector with the fate of his body. And in answer to Hector's plea and offer of ransom for his corpse, he reveals the extreme inhuman hatred and fury he has reached: 鈥淏eg no more, you fawning dog 鈥� begging me by my parents! / Would to god my rage, my fury would drive me now / to hack your flesh away and eat you raw 鈥撯€� This is how the gods hate. His words recall those of Zeus to Hera in Book 4: 鈥淥nly if you could breach / their gates and their long walls and devour Priam鈥�.
Achilles lashes Hector's body to his chariot, and, in full view of the Trojans on the walls, drags it to his tent, where he organises a magnificent funeral for Patroclus. All through the funeral games he acts with a tact, diplomacy and generosity that seem to signal the end of his desperate isolation, his godlike self-absorption; we almost forget that Hector's corpse is still lying in the dust, tied to his chariot, and that Achilles refuses the will of Zeus, refuses to surrender Hector's body to his father Priam.
Only when Priam himself visits Achilles in his tent and kisses his hand does Achilles break out at last from the prison of self-absorbed, godlike passion. Achilles takes Priam's hands and begins to weep. But not for Priam but for his own aged father, to whose memory Priam had appealed and who will soon, like Priam, lose a son.
Achilles goes to collect the ransom, and when he orders Hector's body to be washed and anointed, he gives orders to have it done out of Priam's sight: 鈥淗e feared that, overwhelmed by the sight of Hector, / wild with grief, Priam might let his anger flare / and Achilles might fly into fresh rage himself, / cut the old man down 鈥︹€� He knows himself. This is a new Achilles, who can feel pity for others. For the first time he shows self-knowledge and acts to prevent the calamity his violent temper might bring about. It is as near to self-criticism as he ever gets, but it marks the point at which he ceases to be godlike Achilles and becomes a human being in the full sense of the word.
The tragic course of Achilles' rage, his final recognition of human values 鈥撎齮his is the guiding theme of the poem, and it is developed against a background of violence and death. But the grim progress of the war is interrupted by scenes which remind us that the brutality of war is not the whole of it. Except for Achilles, whose worship of violence falters only in the final moment of pity for Priam, the yearning for peace and its creative possibilities is never far below the surface of the warriors' minds. This is most poignantly expressed by the scenes that take place in Troy, especially the farewell scene between Hector and Andromache. (<3) But it is not enough. The Iliad remains a terrifying poem. Achilles, just before his death, is redeemed as a human being, but there is no consolation for the death of Hector. We are left with a sense of waste, which is not adequately balanced even by the greatness of the heroic figures and the action; the scale descends towards loss. The Iliad remains not only the greatest epic poem in literature but also the most tragic.
The death of Hector seals the fate of Troy; it will fall to the Achaeans, to become the pattern for all time of the death of a city. The images of that night assault 鈥� the blazing palaces, the blood running in the streets, old Priam butchered at the altar, Cassandra raped in the temple, Hector's baby son thrown from the battlements, his wife Andromache dragged off to slavery 鈥� all this, foreshadowed in the Iliad, will be stamped indelibly on the consciousness of the Greeks throughout their history, immortalised in lyric poetry, in tragedy, on temple pediments and painted vases, to reinforce the stern lesson of Homer's presentation of war: that no civilisation, no matter how rich, no matter how refined, can long survive once it loses the power to meet force with equal or superior force.
April 16, 2024
Oh my favourite sins!!! To be enjoyed on this thirteenth stop on the world tour - Ancient Greece.
Pride, wrath, revenge, honour, anger, stubbornness, and the relentless pursuit of glory in war. All constant themes in this godly work of art. A giant in Greek Mythology. A poetic masterpiece which is complex, busy with lots of characters and an abundance of Olympian gods. Fascinating, timeless and unforgettable but not an easy read.
I wish I had reviewed this when I read in my teens because now I have so many images of Achilles - not just the great warrior but also the tempestuous and sulking little devil that the book does not shy away from portraying. In fact, much of this book is told years into the Trojan wars and opens with a quarrel between Achilles and Agamemnon which results in Achilles refusing to fight because of the dishonour Agamemnon shows Achilles by stealing his female slave. And so this deadly game or war, revenge and power ensues between the Trojans, Achaeans, Greek heroes, and Olympian gods all making their mark on this richly observed story/ poem.
The contrast of courage and petty quarrels not just among the human characters but Greek gods is fascinating. So too are the themes which makes this historical account captivating and compelling.
I also loved the book 鈥楽ong of Achilles鈥� because I felt it was more aligned to the way Achilles is portrayed in The Iliad. Watching the films - although blockbusters they are not how Homer depicted the great warrior Achilles who was flawed, stubborn and driven more by rage than common sense.
The Iliad is one of those books you should read in your lifetime. Going in though, remember it鈥檚 not what you see in the movies. This is Homer鈥檚 story and how he wants you to enjoy this godly world and Greek Mythology.
Its is everything you would expect from Greek literature - dramatic, tragic and heroic.
Pride, wrath, revenge, honour, anger, stubbornness, and the relentless pursuit of glory in war. All constant themes in this godly work of art. A giant in Greek Mythology. A poetic masterpiece which is complex, busy with lots of characters and an abundance of Olympian gods. Fascinating, timeless and unforgettable but not an easy read.
I wish I had reviewed this when I read in my teens because now I have so many images of Achilles - not just the great warrior but also the tempestuous and sulking little devil that the book does not shy away from portraying. In fact, much of this book is told years into the Trojan wars and opens with a quarrel between Achilles and Agamemnon which results in Achilles refusing to fight because of the dishonour Agamemnon shows Achilles by stealing his female slave. And so this deadly game or war, revenge and power ensues between the Trojans, Achaeans, Greek heroes, and Olympian gods all making their mark on this richly observed story/ poem.
The contrast of courage and petty quarrels not just among the human characters but Greek gods is fascinating. So too are the themes which makes this historical account captivating and compelling.
I also loved the book 鈥楽ong of Achilles鈥� because I felt it was more aligned to the way Achilles is portrayed in The Iliad. Watching the films - although blockbusters they are not how Homer depicted the great warrior Achilles who was flawed, stubborn and driven more by rage than common sense.
The Iliad is one of those books you should read in your lifetime. Going in though, remember it鈥檚 not what you see in the movies. This is Homer鈥檚 story and how he wants you to enjoy this godly world and Greek Mythology.
Its is everything you would expect from Greek literature - dramatic, tragic and heroic.
October 13, 2012
At my college graduation, the speaker was a gruff professor. He was one of those older men whom people somewhat patronizingly describe as a teddy bear to convey the idea that while he looks like Santa Claus, they wouldn鈥檛 be surprised to see him arraigned on assault charges at the local courthouse. I liked this professor in general, and his graduation speech was a grand: warm congratulations on a crisp early-summer day. He decided to inform us, however, that anyone who had not read The Iliad and The Odyssey should not be graduating from college. I was one of those lucky (lucky?) folks, like an illiterate kid graduating from high school.
I decided to rectify the situation as soon as possible, and I spent an indefinite number of hours in the next few, sunny weeks laying in a hammock on my porch, the boy I loved commiserating with me about this wonderful book. It is a warm, sharp memory. That was mumble mumble years ago, and this summer, I thought that since I just graduated again, I would read it again. It was a good choice. Warm, summer days in the hammock with limb-chopping, flashing helms, and mountain goats rushing down the hillside.
I can鈥檛 find this quote I鈥檓 thinking of, but I鈥檓 pretty sure it鈥檚 from Beowulf, and it goes something like, 鈥淏rave men should seek fame in foreign lands.鈥� Google does not think that quote exists, so maybe I dreamed it, which is really neither here nor there, but kind of weird. Something about that quote, about this book, and about the way this book reminds me of that quote, makes my blood beat close to my skin. I get this feeling that my heart grows too big for my ribs, and my eyeballs get tight, as though I鈥檓 going to cry. But, my heart doesn鈥檛 pound, and no tears come.
That is how this book feels to me.
This story is about what Homer doesn鈥檛 describe as much as what he does, and reading it evokes some kind of mirroring response from my body. The Iliad is the almost-death of Achilles, the almost-destruction of Troy, and reading it is an almost-panic-attack, an almost-sob. It is the absent top step in a flight of stairs. But, oh man, that flight of stairs. How do you even make that?
It鈥檚 not possible to spoil this story because Homer is always one step ahead, tripping you up about what story he鈥檚 telling. So, just because I think it鈥檚 fun (and, also because it seems kind of absurd to write a 鈥渞eview鈥� of The Iliad, so I鈥檓 wandering in the dark here), I鈥檓 going to give a brief summary:
This story is about a bunch of guys fighting over somewomen fleshlights and jewelry. Mostly the women fleshlights. Everyone鈥檚 been at this war for nine years (sidebar: weirdly, when I read that it was nine years, I thought, 鈥淣INE YEARS? WHO WOULD FIGHT A WAR FOR THAT LONG? Oh, wait . . . .鈥�). As you probably know, the war initially started because Paris, a Trojan, stole Helen, who was the iPhone 5 of fleshlights, from Menelaus, an Argive. The Argives are at their ships; the Trojans are in Ilium, behind the city walls. There鈥檚 lots of blood and guts and pillaging throughout.
This story, Homer clearly tells us, is about Paris and Helen鈥檚 betrayal of Menelaus, and it is about the death of Achilles. The story opens with Agamemnon, the king of the Argives, having stolen a fancy new fleshlight from Achilles, who is a child of a water nymph. Achilles refuses to continue fighting if Agamemnon is going to take his fleshlight. Then, Achilles has this beautiful, beautiful moment where he questions the very nature of fighting over fleshlights. We are all pawns in the petty squabbles of the gods.
The gods are easily my favorite parts of this story, though it is not really about them in a certain way. It is not really about them in the way that any discussion of a god is not really about the god. On the one hand, it is about how our lives are just pawns in this squabbling, incestuous, eternal Thanksgiving dinner in the sky. On the other hand, it is still about the pawns. The gods are compelling on their own, but my heart tries to escape my chest not because of their story, but because, yes, humans do live and die by some kind of petty lottery run by a rapist married to his sister. Yes. And maybe there is someone bold and wonderful in the sky, like the grey-eyed Athena, but we still live and die by the thunder of a maniacal drunk uncle. Yes, that seems true.
So, in the midst of the chopping of limbs, the shatteringly beautiful similes, death after death, and the machinations of the dysfunctional immortal family, this story is about the betrayal of Menelaus and the death of Achilles. The thing that is absolutely, hands-down the most insane about this story to me is that those two events are deeply vivid in my mind in connection to this book, but neither of them actually happens here. How is that possible?! How do you plant enough seeds about an event in a reader鈥檚 mind that when she closes a book, those seeds grow into whole, robust images about the event? My blood does that thing where it tries to get out of my skin just from thinking about that. I can picture Achilles's death so vividly, picture lying in that hammock and reading it after I graduated from college, but that never happened. Homer just planted the seeds of his death in my brain, and they grew from my constant pondering over them. Helen and Paris sailing away grew in my mind through Helen鈥檚 beautiful regrets.
This is a story that I could think about for days: Helen鈥檚 mourning, like the women I鈥檝e seen apologize for causing their husbands鈥� abuse (no, you didn鈥檛 cause this); war, and the futility of killing each other, as though we are controlled by the Kardashians of the sky. What causes violence? We say women cause violence because they push our buttons, so we鈥檙e driven to maim and kill because of the betrayals and button pushing. We say that something eternal, God or the gods, cause violence because they control our fate, they appear to us as birds and as wisdom and lead us on our night-blind path of life, but they lead us erratically: drunk, hysterical drivers and us with no seat belt, so we grasp for mere survival. Homer describes those motivations for violence so beautifully.
But, ultimately I think that is all bullshit, and I think the bullshitness of it is there in this story, too. It is there in Achilles challenging Agamemnon. It is there in Achilles mourning Patroclus. Oh, Patroclus, about whom I haven鈥檛 even freaked in this review. What a shame. Anyway, though, people are not violent because we were betrayed or because of supernatural trickery. Our violence is ours; it is our choice and our responsibility. Life is barbarous and cruel around us, but that is its nature, and we can only shape ourselves through and around it. When we expect life to be gentle and obedient, we are usually doing nothing more than justifying our own cruelty. I don鈥檛 think there is an answer to any of this in The Iliad, but it is beautifully told in both the positive and negative space. It is blood-poundingly, eye-achingly told. As my professor said, everyone should read this, and if you can read it in the sun, lying in a hammock after your graduation, all the better.
I decided to rectify the situation as soon as possible, and I spent an indefinite number of hours in the next few, sunny weeks laying in a hammock on my porch, the boy I loved commiserating with me about this wonderful book. It is a warm, sharp memory. That was mumble mumble years ago, and this summer, I thought that since I just graduated again, I would read it again. It was a good choice. Warm, summer days in the hammock with limb-chopping, flashing helms, and mountain goats rushing down the hillside.
I can鈥檛 find this quote I鈥檓 thinking of, but I鈥檓 pretty sure it鈥檚 from Beowulf, and it goes something like, 鈥淏rave men should seek fame in foreign lands.鈥� Google does not think that quote exists, so maybe I dreamed it, which is really neither here nor there, but kind of weird. Something about that quote, about this book, and about the way this book reminds me of that quote, makes my blood beat close to my skin. I get this feeling that my heart grows too big for my ribs, and my eyeballs get tight, as though I鈥檓 going to cry. But, my heart doesn鈥檛 pound, and no tears come.
That is how this book feels to me.
This story is about what Homer doesn鈥檛 describe as much as what he does, and reading it evokes some kind of mirroring response from my body. The Iliad is the almost-death of Achilles, the almost-destruction of Troy, and reading it is an almost-panic-attack, an almost-sob. It is the absent top step in a flight of stairs. But, oh man, that flight of stairs. How do you even make that?
It鈥檚 not possible to spoil this story because Homer is always one step ahead, tripping you up about what story he鈥檚 telling. So, just because I think it鈥檚 fun (and, also because it seems kind of absurd to write a 鈥渞eview鈥� of The Iliad, so I鈥檓 wandering in the dark here), I鈥檓 going to give a brief summary:
This story is about a bunch of guys fighting over some
This story, Homer clearly tells us, is about Paris and Helen鈥檚 betrayal of Menelaus, and it is about the death of Achilles. The story opens with Agamemnon, the king of the Argives, having stolen a fancy new fleshlight from Achilles, who is a child of a water nymph. Achilles refuses to continue fighting if Agamemnon is going to take his fleshlight. Then, Achilles has this beautiful, beautiful moment where he questions the very nature of fighting over fleshlights. We are all pawns in the petty squabbles of the gods.
The gods are easily my favorite parts of this story, though it is not really about them in a certain way. It is not really about them in the way that any discussion of a god is not really about the god. On the one hand, it is about how our lives are just pawns in this squabbling, incestuous, eternal Thanksgiving dinner in the sky. On the other hand, it is still about the pawns. The gods are compelling on their own, but my heart tries to escape my chest not because of their story, but because, yes, humans do live and die by some kind of petty lottery run by a rapist married to his sister. Yes. And maybe there is someone bold and wonderful in the sky, like the grey-eyed Athena, but we still live and die by the thunder of a maniacal drunk uncle. Yes, that seems true.
So, in the midst of the chopping of limbs, the shatteringly beautiful similes, death after death, and the machinations of the dysfunctional immortal family, this story is about the betrayal of Menelaus and the death of Achilles. The thing that is absolutely, hands-down the most insane about this story to me is that those two events are deeply vivid in my mind in connection to this book, but neither of them actually happens here. How is that possible?! How do you plant enough seeds about an event in a reader鈥檚 mind that when she closes a book, those seeds grow into whole, robust images about the event? My blood does that thing where it tries to get out of my skin just from thinking about that. I can picture Achilles's death so vividly, picture lying in that hammock and reading it after I graduated from college, but that never happened. Homer just planted the seeds of his death in my brain, and they grew from my constant pondering over them. Helen and Paris sailing away grew in my mind through Helen鈥檚 beautiful regrets.
This is a story that I could think about for days: Helen鈥檚 mourning, like the women I鈥檝e seen apologize for causing their husbands鈥� abuse (no, you didn鈥檛 cause this); war, and the futility of killing each other, as though we are controlled by the Kardashians of the sky. What causes violence? We say women cause violence because they push our buttons, so we鈥檙e driven to maim and kill because of the betrayals and button pushing. We say that something eternal, God or the gods, cause violence because they control our fate, they appear to us as birds and as wisdom and lead us on our night-blind path of life, but they lead us erratically: drunk, hysterical drivers and us with no seat belt, so we grasp for mere survival. Homer describes those motivations for violence so beautifully.
But, ultimately I think that is all bullshit, and I think the bullshitness of it is there in this story, too. It is there in Achilles challenging Agamemnon. It is there in Achilles mourning Patroclus. Oh, Patroclus, about whom I haven鈥檛 even freaked in this review. What a shame. Anyway, though, people are not violent because we were betrayed or because of supernatural trickery. Our violence is ours; it is our choice and our responsibility. Life is barbarous and cruel around us, but that is its nature, and we can only shape ourselves through and around it. When we expect life to be gentle and obedient, we are usually doing nothing more than justifying our own cruelty. I don鈥檛 think there is an answer to any of this in The Iliad, but it is beautifully told in both the positive and negative space. It is blood-poundingly, eye-achingly told. As my professor said, everyone should read this, and if you can read it in the sun, lying in a hammock after your graduation, all the better.
August 4, 2019
This is a must read for every italian boys and girls at school ( many years ago the ministry of education put it with Dante, and Manzoni as a fixed programm to study for all the young italians); we begin to study "Iliade" from middle then up to High school ...and then at College if you choose humanistic studies...
i will never forget my teacher at "Liceo Classico" kind of "Classical studies high school" that gifted us with brilliant lessons about Dante, Boccaccio,Petrarca, Manzoni, Omero and Virgilio and so on.... and then with our teacher for latin and ancient greek, we studied tragedies and other masterpieces translating them to italian...
The programm was so difficult that an american teacher's we met during an exchange programm, told us that what we were doing was used to be studied during the 3th year of College for classic studies in the US. Now at 43 years old, i can only say , how lucky i have been to met such persons, teachers that loved their studies and their jobs!!
( forgive me, despite my husband is american, and my kids are biligual, i continue to be a mess in written english!!)
i will never forget my teacher at "Liceo Classico" kind of "Classical studies high school" that gifted us with brilliant lessons about Dante, Boccaccio,Petrarca, Manzoni, Omero and Virgilio and so on.... and then with our teacher for latin and ancient greek, we studied tragedies and other masterpieces translating them to italian...
The programm was so difficult that an american teacher's we met during an exchange programm, told us that what we were doing was used to be studied during the 3th year of College for classic studies in the US. Now at 43 years old, i can only say , how lucky i have been to met such persons, teachers that loved their studies and their jobs!!
( forgive me, despite my husband is american, and my kids are biligual, i continue to be a mess in written english!!)
April 13, 2017
TROY VI: THE INVENTION OF ACHILLES
鈥淭he Classics, it is the Classics!鈥� William Blake is said to have exclaimed, with pointed reference to Homer, 鈥�that Desolate Europe with Wars!鈥�
Blake's exclamation might not be as atrocious as it sounds at first. There might be some truth to this, a universal truth.
Significantly however, this is not how the ancients understood it. They understood war as the catastrophe that it is.
Strabo, the Roman geographer, talking about the Trojan wars, puts it thus: 鈥淔or it came about that, on account of the length of the campaign, the Greeks of that time, and the barbarians as well, lost both what they had at home and what they had acquired by the campaign; and so, after the destruction of Troy, not only did the victors turn to piracy because of their poverty, the still more the vanquished who survived the war.鈥�
It is in this spirit that I chose The Iliad as my first read for The World War I centenary read.
However, over the war-hungry centuries throughout the middle ages and right till the World Wars, this sense of the Epic was twisted by manipulating the images of Achilles & Hector - Hector became the great defender of his country and Achilles became the insubordinate soldier/officer - the worst 鈥榯ype鈥�, more a cause for the war than even Helen herself. Of course, Achilles鈥� romance was never fully stripped but Hector gained in prominence throughout as the quintessential Patriot.
Precisely because of this the Blake exclamation might have been more valid than it had a right to be.
This is why there is a need to revisit the original tragic purpose of the Epic - most commentators would say that (as above) this original purpose was against ALL wars. But there is much significance to the fact that the epic celebrates the doomed fight of two extinct peoples.
The Iliad starts on the eve of war and ends on the eve of war. Of a ten year epic war, the poem focuses its attention only on a couple or so of crucial, and in the end inconclusive, weeks (for it does not end with any side victorious but with Hector鈥檚 death).
In fact, it opens with both both Hector & Achilles reluctant and extremely ambivalent towards war. And closes with both Hector & Achilles dead - by mutually assured destruction!
In that clash of the Titans, the epic defines itself and creates a lasting prophecy.
However, before we explore that we need to understand Hector & Achilles better and also the Iliad itself.
In Medias Res
The Iliad opens in medias res, as it were, as if the epic-recitation was already on its way and we, the audience, have just joined. It is part of Homer鈥檚 genius that he creates a world already in process. The art of Iliad is then the art of the entrance, the players enter from an ongoing world which is fully alive in the myths that surround the epic and the audience.
The poem describes neither the origins nor the end of the war. The epic cuts out only a small sliver of insignificant time of the great battle - and thus focuses the spotlight almost exclusively on Hector & Achilles, narrowing the scope of the poem from a larger conflict between warring peoples to a smaller one between these two individuals, and yet maintaining its cosmic aspirations. So the important question is who are Hector & Achilles and why do these two heroes demand nothing less than the greatest western epic to define and contrast them?
The Long Wait For Achilles
In Iliad, how single-mindedly we are made to focus on Hector, but all the while, the Epic bursts with an absence - that of Achilles!
After the initial skirmish with Agamemnon and the withdrawal that forms the curtain-raiser, Achilles plays no part in the events described in Books 2 through 8; he sits by his ships on the shore, playing his harp, having his fun, waiting for the promised end.
鈥淭he man,鈥� says Aristotle in the Politics, 鈥渨ho is incapable of working in common, or who in his self-sufficiency has no need of others, is no part of the community, like a beast, or a god.鈥�
Hector is the most human among the heroes of The Iliad, he is the one we can relate with the most east. The scene where Hector meets听Andromache and his infant son is one of the most poignant scenes of the epic and heightened by Homer for maximum dramatic tension.
On the other hand, Achilles is almost non-human, close to a god. But still human, though only through an aspiration that the audience might feel - in identifying with the quest for kleos, translated broadly as 鈥渉onor鈥�.
鈥榋eus-like Achilles鈥� is the usage sometimes employed by Homer - and this is apt in more ways than the straight-forward fact that he is indeed first among the mortals just as Zeus is first among the gods.
Zeus and the Gods know the future, they know how things are going to unfold.
Among the mortals fighting it out in the plains of Ilium, only Achilles shares this knowledge, and this fore-knowledge is what allows him (in the guise of rage) to stay away from battle, even at the cost of eternal honor. Fore-knowledge is what makes Achilles (who is the most impetuous man alive) wiser than everyone else.
Hector on the other hand takes heed of no omens, or signs, nor consults any astrologer. For him, famously, the only sign required is that his city needed saving - 鈥�and that is omen enough for me鈥�, as he declares. He is the rational man. He is the ordinary man. Roused to defense.
But everything Hector believes is false just as everything Achilles knows is true - for all his prowess, Hector is as ordinary a soldier as anyone else (except Achilles), privy to no prophecies, blind to his own fate. Elated, drunk with triumph, Hector allows himself to entertain one impossible dream/notion after other, even to the extent that perhaps Achilles too will fall to him. That he can save Troy all by himself.
Hector & Achilles: The Metamorphosis
Like other ancient epic poems, the Iliad presents its subject clearly from the outset. Indeed, Homer names his focus in its opening word: menin, or 鈥渞age.鈥� Specifically, the Iliad concerns itself with the rage of Achilles鈥攈ow it begins, how it cripples the Achaean army, and how it finally becomes redirected toward the Trojans. But, it also charts the metamorphosis of Achilles from a man who abhors a war that holds no meaning for him to a man who fights for its own sake.
On the other side, it also charts how the civilized Hector, the loving family man and dutiful patriot Hector becomes a savage, driven by the madness of war.
Before that, an interlude.
The Other Life Of Achilles
One of the defining scenes of the Epic is the 鈥楨mbassy Scene鈥� where a defeated Agamemnon sends Odysseus & co to entreat Achilles to return to the battle. That is when Achilles delivers his famous anti-war speech. This speech of Achilles can be seen as a repudiation of the heroic ideal itself, of kleos听- a realization that the life and death dedicated to glory is a game not worth the candle.
The reply is a long, passionate outburst; he pours out all the resentment stored up so long in his heart. He rejects out of hand this embassy and any other that may be sent; he wants to hear no more speeches. Not for Agamemnon nor for the Achaeans either will he fight again. He is going home, with all his men and ships. As for Agamemnon's gifts, 鈥淚 loathe his gifts!鈥�
This is a crucial point in the epic. Achilles is a killer, the personification of martial violence, but he eulogizes not war but life - 鈥�If I voyage back to the fatherland I love, my pride, my glory dies . . . true, but the life that's left me will be long . . . 鈥溙� (9.502-4)
Hector & Achilles: The Battle Royale
Notwithstanding Achilles鈥� reluctance and bold affirmations of life, slowly, inevitably, Homer builds the tension and guides us towards the epic clash everybody is waiting for. But though it might seem as preordained, it is useful to question it closely. The confrontation is crucial and deserves very close scrutiny. We must ask ourselves - What brings on this confrontation?
On first glance, it was fate, but if looked at again, we can see that Homer leaves plenty of room for free-will and human agency - Hector had a choice. But not Achilles - instead, Achilles' choice was exercised by Patroclus.
This calls for a significant re-look at the central conflict of the epic: it might not be Hector Vs Achilles!
Patroclus and Hector instead are the real centerpiece of the epic - Achilles being the irresistible force, that is once unleashed unstoppable. It is a no-contest. Hence, the real contest happens before.
This is because, that unleashing depended entirely on Hector and Patroclus - the two heroes who only went into battle when their side was in dire straits - to defend. Both then got caught up in the rage of battle, and despite the best of advice from their closest advisors, got swept up by it and tried to convert defense into annihilation of enemy - pursuing kleos!
It is worth noting the significant parallels between Hector and Patroclus, while between Hector and Achilles it is the contrasts that stand forth.
Hector, instead of just defending his city, surges forth and decides to burn the Achaean ships. Now, the Achaean ships symbolize the future of the Greek race. They constitute the army鈥檚 only means of conveying itself home, whether in triumph or defeat. Even if the Achaean army were to lose the war, the ships could bring back survivors; the ships鈥� destruction, however, would mean the annihilation鈥攐r automatic exile鈥攐f every last soldier. Homer implies that the mass death of these leaders and role models would have meant the decimation of a civilization.
Which means that the Achaeans cant escape - in effect, Hector, by trying to burn the ships is in effect calling for a fight to the death!
This decision was taken in the face of very strong omens and very good advice:
In the battle at the trench and rampart in Book Twelve, The Trojans Storm the Rampart, Polydamas sees an eagle flying with a snake, which it drops because the snake keeps attacking it; Polydamas decides this is an omen that the Trojans will lose. He tells Hector they must stop, but Hector lashes out that Zeus told him to charge; he accuses Polydamas of being a coward and warns him against trying to convince others to turn back or holding back himself.
Hector is driven on by his success to overstep the bounds clearly marked out for him by Zeus. He hears Polydamas鈥� threefold warning (yes, there were two other instances too, not addressed here), yet plots the path to his own death and the ruin of those whom he loves.
Thus, sadly, Hector pays no heed and surges forth. Which is the cue for the other patriot to enter the fray - for Patroclus.
And thus Hector鈥檚 own madness (going beyond success in defense) in the face of sound advice brought on a crises for Achaeans to which their prime defender and patriot, Patroclus responded - and then paralleling Hector鈥檚 own folly, he too succeeded and then went beyond that to his own death. Thus Patroclus too shows that knows no restraint in victory; his friends too warned him in vain, and he paid for it with his life. By this time Hector had no choice, his fate was already sealed. Achilles was about to be unleashed.
The most important moment in Iliad to me was this 鈥榩rior-moment鈥� - when Hector lost it - when he lost himself to war fury: Hector鈥檚 first act of true savagery - towards Patroclus and his dead-body. 鈥�lost in folly, Athena had swept away their senses, 鈥� is how Homer describes Hector and his troops at this point of their triumph.
Achilles, Unchained.
Yet, Homer gives Hector one more chance to spurn honor and save himself and diffuse/stall the mighty spirit of Achilles that had been unleashed on the battlegrounds. In his soliloquy before the Scacan gate, when he expects to die by Achilles' hand, he also has his first moment of insight: he sees that he has been wrong, and significantly enough Polydamas and his warnings come back to his mind. But he decides to hold his ground for fear of ridicule, of all things!
So even as all the other Trojans ran inside the impregnable city walls to shelter, Hector waited outside torn between life and honor (contrast this with Achilles who had chosen life over honor, the lyre over the spear, so effortlessly earlier). Hector instead waits until unnerved, until too late. And then the inevitable death comes.
Thus the Rage was unleashed by two men who tried to do more than defend themselves - they tried to win eternal honor or kleos听- the result is the unleashing of the fire called Achilles (his rage) which burns itself and everything around it to the ground. What better invocation of what war means?
I ask again, what better book to read for the centenary year for The World War I?
The Last Book
The last words of The Iliad are : 鈥淎nd so the Trojans buried Hector, breaker of horses.鈥�
Thus, fittingly, Homer starts with the Rage of Achilles and ends with the Death of Hector. This is very poetic and poignant, but it is time for more questions:
Again, why start and end on the eve of battle? Because that is the only space for reflection that war allows. Before the madness of the fury of war or of disaster descends like a miasmic cloud. To use Homer鈥檚 own phrase, 鈥�war gives little breathing-room鈥�.
Thus, we end the Epic just as we began it - in stalemate, with one crucial difference - both sides鈥� best men are dead. The two men who could have effected a reconciliation , who had a vision beyond war, are dead.
Homer鈥檚 Prophecies
It is made very clear in The Iliad that Achilles will die under Trojan roofs and that Hector will find his doom under the shadow of the Achaean ships - or, both are to die in enemy territory.
Though Iliad leaves us with full focus on Hector鈥檚 death and funeral, there is another death that was always presaged but left off from the story - That of Achilles鈥� own. Why?
Achilles' death is left to the audience to imagine, over and over again, in every context as required. The saga of Hector & Achilles, of the doomed-to-die heroes, leaves one death to the imagination and thus effects a very neat prophetic function.
Once Hector committed his folly, once Patroclus rushed to his death, and once Achilles is unleashed, the rest is fixed fate, there is no stopping it. So Homer begins and ends in truce, but with destruction round the corner - as if the cycle was meant to be repeated again and again, stretching backwards and forwards in time - Troy I, Troy II, 鈥� to Troy VI, Troy VII, 鈥� where does it end?
Homer knows that the threshold is crossed, the end is nigh - even Troy鈥檚 destruction is not required to be part of the epic - with Hector鈥檚 death, the death of Ilium is nigh too and so is Achilles鈥� own death and past the myths, the death of the Greek civilization, and maybe of all civilization?
The epic leaves us with the real doomsday just over the horizon, horribly presaged by it, in true prophetic fashion.
The Pity of War
The pity of war is The Iliad鈥檚 dominant theme, but it uses themes such as love, ego, honor, fear and friendship to illuminate the motive forces behind war. In another ancient epic, Gilgamesh, the death of a friend prompts a quest which ends in wisdom and an affirmation of life; in The Iliad, the death of the fabled friend leads to a renunciation of wisdom and a quest for death itself! In Gilgamesh, the hero learns the follies of life and rebuilds civilization; in The Iliad, Achilles comes into the epic already armed with this knowledge and moves towards seeking death, choosing to be the destroyer instead of the creator.
The Iliad is an epic of unlearning. It mocks optimistic pretensions. In The Iliad, the participants learn nothing from their ordeal, all the learning is left to the audience.
April 16, 2021
"隆Oh amigos! 隆Sed hombres, mostrad que ten茅is un coraz贸n esforzado y avergonzaos de parecer cobardes en el duro combate! De los que sienten este temor, son m谩s los que se salvan que los que mueren; los que huyen ni alcanzan gloria, ni entre s铆 se ayudan."
La Il铆ada, este inmortal poema 茅pico griego que la historia de la literatura le atribuye a Homero (comentar茅 esto m谩s adelante), es un libro sobre la guerra, pero que tambi茅n habla de una 茅poca, en la que Troya o Ili贸n es el campo de batalla donde se pone de manifiesto la perfecta conjunci贸n de dioses, h茅roes y hombres, quienes luchan a la par y en distintos planos, como el terrenal y el del Olimpo.
Este es un libro que habla sobre la c贸lera de Aquiles y la bravura de H茅ctor y nos involucra r谩pidamente como testigos de traiciones y alianzas tanto entre los dioses del Olimpo como en los pueblos guerreros que combaten entre s铆, puesto que los dioses apoyan tanto a teucros como a aqueos y sobre ellos inclinan la balanza alter谩ndoles sus destinos, insufl谩ndoles valor o aconsej谩ndolos al punto ante una maniobra o proceder inadecuado. Los h茅roes, conscientes de sus destinos afrontan con honor y hombr铆a lo que los dioses les imponen sin discusi贸n.
Estas acciones est谩n claramente narradas en un cap铆tulo previo al recrudecimiento de la guerra, casi en su etapa final cuando Homero nos dice: "As铆 habl贸 el Cronida y promovi贸 una gran batalla. Los dioses fueron al combate divididos en dos bandos: encamin谩ronse a las naves Hera, Palas Atenea, Poseid贸n, que ci帽e la tierra, el ben茅fico Hermes de prudente esp铆ritu, y con ellos Hefesto, que, orgulloso de su fuerza, cojeaba arrastrando sus gr谩ciles piernas; y enderezaron sus pasos a los troyanos Ares, el de tremolante casco, el intenso Febo Apolo, Artemisa, que se complace en tirar flechas, Leto, el Janto y la risue帽a Afrodita."
M谩s all谩 de que el rapto de Helena de Troya por Paris, hermano de H茅ctor desencadene la guerra, aunque esta ya estaba esta ya dispuesta por los mismos dioses (algo que anticipaba ya Hes铆odo en su Teogon铆a). Es que es un conflicto ineludible porque as铆 est谩 escrito y efectivamente desencadenar谩 en un enfrentamiento que durar谩 diez a帽os.
La tan famosa c贸lera de Aquiles, que se desdobla en dos partes: la de su enemistad con Agamen贸n por apropiarse este de Briseida, una doncella tomada como bot铆n de guerra y por otro lado la muerte de su querid铆simo amigo y escudero Patroclo a manos de un capit谩n licio, con remate de H茅ctor y ayuda del dios Ares.
Es llamativa y sugerente esta "c贸lera" de Aquiles ante la muerte de Patroclo. A m铆, personalmente, me hizo pensar que Patroclo oficia pr谩cticamente como amante de Aquiles, puesto que es llamativo que haya varios cap铆tulos que hablan del llanto, la pena y el duelo que Aquiles realiza sobre Patroclo, adem谩s de los interminables funerales y exequias que a este le dedica.
Pensemos esto: si el primer hex谩metro del poema comienza diciendo: "Canta, oh diosa, la c贸lera del Pelida Aquiles; c贸lera funesta que caus贸 infinitos males a los aqueos y precipit贸 al Hades muchas almas valerosas de h茅roes, a quienes hizo presa de perros y pasto de aves -cumpl铆ase la voluntad de Zeus- desde que se separaron disputando el Atrida, rey de hombres, y el divino Aquiles.", esto evidencia claramente que la hecatombe que viviremos a trav茅s de las casi 500 p谩ginas del libro responden a una simple "vendetta" de Aquiles por la muerte de su amad铆simo amigo, arrastrando consigo a cuanto guerrero, rey, dios o mujer se encuentre en su camino. Son muchas las muertes que desencadena esta c贸lera. Es incluso llamativo que los dioses del Olimpo acepten todo este l铆o.
Adem谩s, si uno presta atenci贸n al desarrollo de la historia, Aquiles aparece al principio del mismo y luego, enfurru帽ados por sus demonios internos, desaparece para retornar casi al final del libro, cuando vuelve a la batalla para vengar a Patroclo sobre H茅ctor. Espero que los fieles lectores de Homero no se sientan ofendidos por este comentario 隆(y que la furia de los dioses griegos no caiga sobre m铆!).
Los personajes de la Il铆ada son numerosos. Son tantos que cuando el aedo (as铆 le llamaban a los bardos hel茅nicos en su 茅poca) narra las haza帽as personales de H茅ctor, Aquiles, Idomeneo, Diomedes o Ajax Telamonio lo hace enumerando decenas de nombres. Son tantos que perd铆 la cuenta y me pregunto por qu茅 no los anot茅. Me atrever铆a a decir que supera los 559 nombres que Tolst贸i cre贸 en "La Guerra y la Paz".
Otro detalle interesante son los atributos que Homero le da tanto a dioses como a h茅roes (Aquiles, "el de los pies ligeros", Apolo "el que hiere de lejos", Zeus "el que nubes re煤ne", Hera "la de brazos nevados", etc.), esto hace que al atribuirle al personaje caracter铆sticas divinas o heroicas lo eleve por sobre los otros de menor linaje o jerarqu铆a. Es un detalle que me agrad贸 sobremanera.
La descripci贸n de las batallas, el realismo, la sangre y la violencia, no lograron convencerme mucho. Se tornan un tanto repetitivas sus descripciones y hip茅rboles. Recuerdo la forma tan v铆vida en la que Virgilio relata las de la Eneida y siento que son m谩s reales a煤n, pero esto es una cuesti贸n m谩s relacionada a la traducci贸n realizada que a los gustos personales.
Los personajes en el libro son variados, como tambi茅n los son as铆 sus influencias, actitudes y predominancia para la historia. A m铆 me agrad贸 mucho encontrarme por el lado de los teucros, lisios y d谩rdanos a H茅ctor, el del casco brillante, Eneas (personaje principal de la Eneida de Virgilio, uno de mis libros preferidos, que contin煤a la ca铆da de Troya), Paris, Sarped贸n, Polidamante y Agenor. Por el otro lado descubro a aqueos, d谩naos y mirmidones y entre ellos a Aquiles, el de las grebas hermosas, a Ulises (quien continuar谩 esta historia en la Odisea), al bravo Menelao, hermano de Agamen贸n, al intr茅pido Diomedes, a Ajax Telamonio (valiente guerrero al que ning煤n dios ayuda) y al pol茅mico Agamen贸n, parte clave de la historia y que junto a la Odisea, lo narra Esquilo en otro regreso despu茅s de la guerra, junto con la Orest铆ada.
Muy interesante fue leer este poema 茅pico en el otro plano, el de los dioses, puesto que se desarrolla casi a la par el mismo conflicto, ya que, como cito anteriormente, cada dios apoya a quien m谩s quiere. Es fundamental la intervenci贸n de Hera, Palas Atenea, Febo Apolo, Ares, Poseid贸n y Afrodita en la contienda, puesto que hasta entre ellos mismos batallan, caus谩ndose graves heridas. Los veo como dioses falibles, demasiado humanos y m谩s notoriamente en Zeus, ya que por momentos, el viejo Cr贸nida es perverso, muy parcial y protector de H茅ctor, y en otros manipulador e incluso terco y obstinado. De hecho es necesario que por momentos su esposa Hera lo enga帽e o le haga entrar en raz贸n ante acontecimientos demasiado desfavorables e injustos para con los aqueos.
Por 煤ltimo, me hago una pregunta. 驴Fue realmente Homero quien relat贸 los poemas en forma oral? Me apoyo en la teor铆a de algunos especialistas que aseguran que fueron varios los aedos que contaban al pueblo la epopeya griega de la Il铆ada y la Odisea a partir de distintas historias. Me resulta dif铆cil creer que un hombre complemente ciego pueda narrar con tanto lujo de detalle los ornamentos de los guerreros, la descripci贸n de los dioses, la violencia de las batallas, los r铆os, el Olimpo, todo lo que sucede en los mares que surca Ulises en la Odisea, etc. Es m谩s, estoy de acuerdo con que pueda haber dictado los poemas a los que despu茅s lo habr铆an relatado en p煤blico, aumentando la cantidad de detalles. Porque no estamos hablando de un Jorge Luis Borges o John Milton quienes quedaron ciegos ya entrados en a帽os sino de un hombre que fue privado de su visi贸n toda su vida.
Pero, por otro lado digo: 隆qui茅n soy yo para cuestionar a semejante poeta! No soy nada m谩s que un simple lector, un gotita de agua en ese vasto oc茅ano que es la literatura, que se apasiona con los heroicos versos que narran las haza帽as de Aquiles, H茅ctor, Ulises y tantos h茅roes y dioses, gracias a la eterna gloria de Homero, uno de los padres de las letras m谩s ilustres.
La Il铆ada, este inmortal poema 茅pico griego que la historia de la literatura le atribuye a Homero (comentar茅 esto m谩s adelante), es un libro sobre la guerra, pero que tambi茅n habla de una 茅poca, en la que Troya o Ili贸n es el campo de batalla donde se pone de manifiesto la perfecta conjunci贸n de dioses, h茅roes y hombres, quienes luchan a la par y en distintos planos, como el terrenal y el del Olimpo.
Este es un libro que habla sobre la c贸lera de Aquiles y la bravura de H茅ctor y nos involucra r谩pidamente como testigos de traiciones y alianzas tanto entre los dioses del Olimpo como en los pueblos guerreros que combaten entre s铆, puesto que los dioses apoyan tanto a teucros como a aqueos y sobre ellos inclinan la balanza alter谩ndoles sus destinos, insufl谩ndoles valor o aconsej谩ndolos al punto ante una maniobra o proceder inadecuado. Los h茅roes, conscientes de sus destinos afrontan con honor y hombr铆a lo que los dioses les imponen sin discusi贸n.
Estas acciones est谩n claramente narradas en un cap铆tulo previo al recrudecimiento de la guerra, casi en su etapa final cuando Homero nos dice: "As铆 habl贸 el Cronida y promovi贸 una gran batalla. Los dioses fueron al combate divididos en dos bandos: encamin谩ronse a las naves Hera, Palas Atenea, Poseid贸n, que ci帽e la tierra, el ben茅fico Hermes de prudente esp铆ritu, y con ellos Hefesto, que, orgulloso de su fuerza, cojeaba arrastrando sus gr谩ciles piernas; y enderezaron sus pasos a los troyanos Ares, el de tremolante casco, el intenso Febo Apolo, Artemisa, que se complace en tirar flechas, Leto, el Janto y la risue帽a Afrodita."
M谩s all谩 de que el rapto de Helena de Troya por Paris, hermano de H茅ctor desencadene la guerra, aunque esta ya estaba esta ya dispuesta por los mismos dioses (algo que anticipaba ya Hes铆odo en su Teogon铆a). Es que es un conflicto ineludible porque as铆 est谩 escrito y efectivamente desencadenar谩 en un enfrentamiento que durar谩 diez a帽os.
La tan famosa c贸lera de Aquiles, que se desdobla en dos partes: la de su enemistad con Agamen贸n por apropiarse este de Briseida, una doncella tomada como bot铆n de guerra y por otro lado la muerte de su querid铆simo amigo y escudero Patroclo a manos de un capit谩n licio, con remate de H茅ctor y ayuda del dios Ares.
Es llamativa y sugerente esta "c贸lera" de Aquiles ante la muerte de Patroclo. A m铆, personalmente, me hizo pensar que Patroclo oficia pr谩cticamente como amante de Aquiles, puesto que es llamativo que haya varios cap铆tulos que hablan del llanto, la pena y el duelo que Aquiles realiza sobre Patroclo, adem谩s de los interminables funerales y exequias que a este le dedica.
Pensemos esto: si el primer hex谩metro del poema comienza diciendo: "Canta, oh diosa, la c贸lera del Pelida Aquiles; c贸lera funesta que caus贸 infinitos males a los aqueos y precipit贸 al Hades muchas almas valerosas de h茅roes, a quienes hizo presa de perros y pasto de aves -cumpl铆ase la voluntad de Zeus- desde que se separaron disputando el Atrida, rey de hombres, y el divino Aquiles.", esto evidencia claramente que la hecatombe que viviremos a trav茅s de las casi 500 p谩ginas del libro responden a una simple "vendetta" de Aquiles por la muerte de su amad铆simo amigo, arrastrando consigo a cuanto guerrero, rey, dios o mujer se encuentre en su camino. Son muchas las muertes que desencadena esta c贸lera. Es incluso llamativo que los dioses del Olimpo acepten todo este l铆o.
Adem谩s, si uno presta atenci贸n al desarrollo de la historia, Aquiles aparece al principio del mismo y luego, enfurru帽ados por sus demonios internos, desaparece para retornar casi al final del libro, cuando vuelve a la batalla para vengar a Patroclo sobre H茅ctor. Espero que los fieles lectores de Homero no se sientan ofendidos por este comentario 隆(y que la furia de los dioses griegos no caiga sobre m铆!).
Los personajes de la Il铆ada son numerosos. Son tantos que cuando el aedo (as铆 le llamaban a los bardos hel茅nicos en su 茅poca) narra las haza帽as personales de H茅ctor, Aquiles, Idomeneo, Diomedes o Ajax Telamonio lo hace enumerando decenas de nombres. Son tantos que perd铆 la cuenta y me pregunto por qu茅 no los anot茅. Me atrever铆a a decir que supera los 559 nombres que Tolst贸i cre贸 en "La Guerra y la Paz".
Otro detalle interesante son los atributos que Homero le da tanto a dioses como a h茅roes (Aquiles, "el de los pies ligeros", Apolo "el que hiere de lejos", Zeus "el que nubes re煤ne", Hera "la de brazos nevados", etc.), esto hace que al atribuirle al personaje caracter铆sticas divinas o heroicas lo eleve por sobre los otros de menor linaje o jerarqu铆a. Es un detalle que me agrad贸 sobremanera.
La descripci贸n de las batallas, el realismo, la sangre y la violencia, no lograron convencerme mucho. Se tornan un tanto repetitivas sus descripciones y hip茅rboles. Recuerdo la forma tan v铆vida en la que Virgilio relata las de la Eneida y siento que son m谩s reales a煤n, pero esto es una cuesti贸n m谩s relacionada a la traducci贸n realizada que a los gustos personales.
Los personajes en el libro son variados, como tambi茅n los son as铆 sus influencias, actitudes y predominancia para la historia. A m铆 me agrad贸 mucho encontrarme por el lado de los teucros, lisios y d谩rdanos a H茅ctor, el del casco brillante, Eneas (personaje principal de la Eneida de Virgilio, uno de mis libros preferidos, que contin煤a la ca铆da de Troya), Paris, Sarped贸n, Polidamante y Agenor. Por el otro lado descubro a aqueos, d谩naos y mirmidones y entre ellos a Aquiles, el de las grebas hermosas, a Ulises (quien continuar谩 esta historia en la Odisea), al bravo Menelao, hermano de Agamen贸n, al intr茅pido Diomedes, a Ajax Telamonio (valiente guerrero al que ning煤n dios ayuda) y al pol茅mico Agamen贸n, parte clave de la historia y que junto a la Odisea, lo narra Esquilo en otro regreso despu茅s de la guerra, junto con la Orest铆ada.
Muy interesante fue leer este poema 茅pico en el otro plano, el de los dioses, puesto que se desarrolla casi a la par el mismo conflicto, ya que, como cito anteriormente, cada dios apoya a quien m谩s quiere. Es fundamental la intervenci贸n de Hera, Palas Atenea, Febo Apolo, Ares, Poseid贸n y Afrodita en la contienda, puesto que hasta entre ellos mismos batallan, caus谩ndose graves heridas. Los veo como dioses falibles, demasiado humanos y m谩s notoriamente en Zeus, ya que por momentos, el viejo Cr贸nida es perverso, muy parcial y protector de H茅ctor, y en otros manipulador e incluso terco y obstinado. De hecho es necesario que por momentos su esposa Hera lo enga帽e o le haga entrar en raz贸n ante acontecimientos demasiado desfavorables e injustos para con los aqueos.
Por 煤ltimo, me hago una pregunta. 驴Fue realmente Homero quien relat贸 los poemas en forma oral? Me apoyo en la teor铆a de algunos especialistas que aseguran que fueron varios los aedos que contaban al pueblo la epopeya griega de la Il铆ada y la Odisea a partir de distintas historias. Me resulta dif铆cil creer que un hombre complemente ciego pueda narrar con tanto lujo de detalle los ornamentos de los guerreros, la descripci贸n de los dioses, la violencia de las batallas, los r铆os, el Olimpo, todo lo que sucede en los mares que surca Ulises en la Odisea, etc. Es m谩s, estoy de acuerdo con que pueda haber dictado los poemas a los que despu茅s lo habr铆an relatado en p煤blico, aumentando la cantidad de detalles. Porque no estamos hablando de un Jorge Luis Borges o John Milton quienes quedaron ciegos ya entrados en a帽os sino de un hombre que fue privado de su visi贸n toda su vida.
Pero, por otro lado digo: 隆qui茅n soy yo para cuestionar a semejante poeta! No soy nada m谩s que un simple lector, un gotita de agua en ese vasto oc茅ano que es la literatura, que se apasiona con los heroicos versos que narran las haza帽as de Aquiles, H茅ctor, Ulises y tantos h茅roes y dioses, gracias a la eterna gloria de Homero, uno de los padres de las letras m谩s ilustres.
August 30, 2015
I鈥檓 often kept up at night brooding on my troubles, wishing I could find some solace that would help me sleep. But now I know that the best way to keep insomnia at bay is to get out of bed, hitch up my chariot, tie the corpse of my mortal enemy to the back, and drive around for a few hours, dragging him, until I cheer up and can go back to sleep. The Iliad is unmatched, in my reading, for works that describe the bloody, ridiculous, selfish lengths people will go in order to feel better. The sticks and stones fly (and gouge out eyes, smash skulls, slash livers and veins until the blood sprays鈥搕his poem is definitely not for the squeamish), but the real weapons of the Trojan War are name-calling, cheating at games, and stealing your best buddy鈥檚 girlfriend or mixing bowl or ox. Most of the action occurs when somebody gets his feelings hurt, the baddie won鈥檛 apologize, and the sensitive one throws a fit, which can involve letting all of his friends die while he gets an olive-oil massage, or else razing a city, raping the women, and joyriding over other men鈥檚 bones. The Iliad suggests that even at its most glorious, war can be advocated only by people with the emotional lives of spoiled four-year-olds....
For more thoughts, see my post:
For more thoughts, see my post:
October 13, 2023
Those who are happy travel today with books and stories. Heroes of mythology and victims of confinement had made to get along. Look at Ulysses, for example; everyone knows his story. With a certificate of exit to wage war, he leaves Penelope and goes to Troy. Others, like Vian, would have deserted, but he hasn't. He makes war; it lasts ten years. He could go home, but no: the time heroes are all rebellious, like the gods. It's a true science fiction novel these days! In the Trojan part of the story, Homer is the seat of our emotions: Achile and his anger will lead the Greeks to defeat. In the feelings game, the gods have no example to receive from people. Sure, men have an interest in standing like heroes.
October 5, 2021
丕賱丕賱賷丕匕丞 賵賴賵賲賷乇賵爻 賷噩毓賱丕賳 賲賳賰 胤賮賱丕賸 氐睾賷乇丕賸 鬲鬲丨丿孬 賲毓 賳賮爻賰 胤賷賱丞 丕賷丕賲 賯乇丕亍丞 丕賱賲賱丨賲丞 鬲賲丕乇爻 丕賱賴賱賵爻丞 丕賱賴賵賲賷乇賷丞 亘賰賱 噩賳賵賳賴丕貙 鬲爻鬲賮賷賯 賴賵丕賷丞 丕賱賲毓丕乇賰 賮賷 賲禺賷賱鬲賰貙 鬲鬲丨賲爻貙 鬲睾囟亘貙鬲卮丕乇賰 亘毓賯賱賰 賵丕賳賮毓丕賱丕鬲賰貙 鬲亘賰賷賰 賲卮丕賴丿 賲氐乇毓 丕賱丕亘胤丕賱貙 鬲賱賴亘賰 爻丕丨丞 丕賱賲毓丕乇賰 丕賱賲賰鬲馗丞 亘氐賱賷賱 丕賱爻賷賵賮 賵鬲丿丕賮毓 丕賱丕噩爻丕丿 丕賱賲鬲毓胤卮丞 賱賱丿賲丕亍 賵丕賱賲噩丿 賯亘賱 賰賱 卮卅貙 賷鬲賱丕毓亘 亘賰 賴賵賲賷乇賵爻 賰賷賮賲丕 賷卮丕亍 賴賵 賵丌賱賴鬲賴 丕賱禺丕賱丿丞 賵兀亘胤丕賱賴 卮亘賴 丕賱賲噩丕賳賷賳 貙 賷乇鬲丨賱 亘賰 賮賷 丕賱毓丕賱賲 丕賱賯丿賷賲 賮賷 亘賱丕丿 丕賱丕睾乇賷賯貙 賮賷 胤乇賵丕丿丞貙 賮賷 賲毓亘丿 丿賱賮賷貙 賮賷 噩亘丕賱 丕賱丕賵賱賲亘賵爻.. 賳丕丿乇 兀賳 鬲卮毓乇 亘丕賱睾乇亘丞 賵兀賳鬲 鬲賯乇兀 賮賷 丕賱賲賱丨賲丞 賳丕丿乇丕賸 賲丕 鬲噩丿 賳賮爻賰 亘毓賷丿丕賸 賴賳丕賰貙 賱賲 賷賰賳 賲賳 丕賱噩賷丿 兀賳 鬲賯賵賲 亘廿禺賮丕亍 賳賮爻賰 禺賱賮 噩丿乇丕賳 胤乇賵丕丿丞 丕賱毓馗賷賲丞貙 賱賲 賷賰賳 賱賰 丕賱丨賯 賮賷 丕賱鬲禺賱賷 毓賳 丕賱賲毓乇賰丞 貙賮賴賳丕 廿賲丕 兀賳 鬲賰賵賳 兀賵 賱丕 鬲賰賵賳貙 賴賷賰鬲賵乇賷丕賸 兀賵 賲賵丕賰亘丕賸 賱睾囟亘丞 " 兀禺賷賱賷賵爻 " 爻乇賷毓 丕賱賯丿賲 丕賱賲鬲丿孬乇 丿丕卅賲丕賸 亘賱亘丕爻 丕賱丨乇亘 賵丕賱睾囟亘 賲毓丕賸貙 賱賯丿 賵賱丿 賲毓 丕賱睾囟亘 賵丕乇鬲丨賱 賲毓 噩賳賵賳賴 丕賷賳賲丕 丨賱.. 丨賷賳賲丕 爻賲毓 亘賲賯鬲賱 " 亘丕鬲乇賵賰賱賵爻 " 賰丕丿 兀賳 賷噩夭 乇賯亘鬲賴 亘禺賳噩乇賴 賱賵賱丕 兀賳 賯亘囟 毓賱賶 賷丿賷賴 賵賲賳毓賴 廿亘賳 賳賷爻鬲賵乇 丕賱丨賰賷賲..
氐乇丕毓 賲丨鬲丿賲 亘丿兀 亘廿禺鬲胤丕賮 丕賱噩賲賷賱丞 "賴賷賱賷賳丕" 賲賳 兀乇囟 丕賱丕睾乇賷賯 毓賱賶 丕賱賰爻賳丿乇賵爻 "亘丕乇爻" 匕丕賰 丕賱卮賯賷 丕賱匕賷 噩賱亘 丕賱賵賷賱丕鬲 賱亘賱丕丿賴 丕賱匕賷 賵氐賮賴 賴賷賰鬲賵乇 匕丕鬲賴 賲乇丞 " 丕賷賴丕 丕賱賲毓鬲賵賴貙 賱賷鬲 丕賱丕乇囟 賯丿 亘賱毓鬲賰 賲賳 賯亘賱 兀賳 鬲乇賶 丕賱賳賵乇 賮賷 賲丿賷賳丞 亘乇賷丕賲賵爻" ..兀鬲賮賯 兀賳 亘丕乇賷爻 賰丕賳 賴賵丕賷丕賸 賱賱賳爻丕亍 賲賮鬲賵賳丕 亘噩賲丕賱賴 賵賲丨亘丕賸 賱賴匕丕 丕賱賳賵毓 賲賳 丕賱賲睾丕賲乇丕鬲 丕賱鬲賷 鬲丿賮毓賴 賳賮爻賴 廿賱賶 禺胤賮 丕賱賳爻丕亍 賵丕賱乇噩賵毓 亘賴賳 廿賱賶 胤乇賵丿丕丞 賰賭 爻亘賷丕鬲 賵兀爻賷乇丕鬲 賮賷 賯氐乇賴貙 賱賲 賷禺胤乇 兀賳賴 賯丿 噩賱亘 丕賱賵亘丕賱 毓賱賶 卮毓亘賴 賯丿 鬲爻亘亘 賮賷 賴賱丕賰 兀賲鬲賴 賵賲丨賵賴丕 賲賳 禺乇賷胤丞 丕賱毓丕賱賲 丨賷賳 兀賮鬲鬲賳 亘賭 " 賴賱賷賳賷丕" 丕賱噩賲賷賱丞 夭賵噩丞 賲賷賳賱丕丐爻 卮賯賷賯 丕賱賲賱賰 兀噩丕賲賳賵賳貙 廿禺鬲胤賮賴丕 賲賳 丕賱賯氐乇 賵兀亘丨乇 亘賴丕 廿賱賶 胤乇賵丕丿丞 賱鬲氐亘丨 賲丨馗賷丞 賱賴 賴賳丕賰..
賲丕 兀賳 兀丿乇賰 賲賷賳賱丕丐爻 匕賱賰 丕賱匕賷 丨丿孬 丨鬲賶 賯丕賲 亘鬲丨賮夭 兀禺賷賴 毓賱賶 鬲噩賴賷夭 丕賱毓丿丞 賵卮賳 睾丕乇丞 毓賱賶 胤乇賵丕丿丞 丕賱鬲毓賷爻丞貙 兀噩丕亘賴 卮賯賷賯賴 廿賱賶 匕賱賰 亘賱 賵兀噩鬲賲毓 噩賲賷毓 賯亘丕卅賱 賵賲賱賵賰 賵爻丕丿丞 丕賱丕睾乇賷賯 毓賱賶 賲卮丕乇賰丞 丕賱丨賲賱丞 丕賱爻丕毓賷丞 兀賵賱丕賸 賱兀乇噩丕毓 夭賵噩丞 賲賷賳賱丕丐爻 賵孬丕賳賷丕賸 賳賴亘 賰賳賵夭 胤乇賵丕丿丞 丕賱鬲賷 賰丕賳鬲 匕丕卅毓丞 丕賱氐賷鬲 賮賷 賲賯丿丕乇 賰賳賵夭賴丕 賵睾賳丕賴丕 丕賱鬲賷 賰丕賳鬲 鬲鬲亘丕賴賶 亘賴丕 賮賷 丕賱毓丕賱賲 丕賱賯丿賷賲..
賵氐賱 丕賱賲丿丿 賲賳 賰賱 賲賰丕賳 賵丕丨鬲卮丿鬲 丕賱賯賵丕鬲 丕賱丕禺賷亘丞 賵丕賱丿丕賳丕卅賷賷賳 賲噩鬲賲毓賷賳 賱亘丿亍 丕賱丨賲賱丞 賵丕賱爻胤賵 毓賱賶 胤乇賵丕丿丞 丕賱賲噩賷丿丞 賲毓賯賱 賴賰鬲賵乇 賵賲賳 賯亘賱 匕賱賰 亘乇賷丕賲賵爻 匕賱賰 丕賱卮賷禺 丕賱賴乇賲 丨亘賷亘 丕賱丕賱賴丞.. 亘毓丿 鬲爻毓 爻賳賵丕鬲 賲賳 丕賱丕亘丨丕乇 賵賲賰丕亘丿丞 丕賱毓賳丕亍 賰賲丕 鬲氐賮 丕賱賲賱丨賲丞貙 賵氐賱鬲 丕賱丨卮賵丿 丕賱毓馗賷賲丞 賷鬲賯丿賲賴丕 兀噩丕賲賲賳賵賳 丕賱賲賱賰 亘賳賮爻賴 賵賲毓 卮賯賷賯賴 丕賱賲鬲乇賮 丕賱兀丨夭丕賳貙 賵爻賷丿 丕賱睾囟亘 賵丕賱賯鬲丕賱 爻乇賷毓 丕賱賯丿賲 賰賲丕 賷氐賮賴 賴賵賲賷乇賵爻 " 兀禺賷賱賷賵爻 " 兀賵 兀禺賷賱 丕賱亘胤賱 丕賱丕睾乇賷賯賷 丕賱禺丕賱丿 丕賱爻丕睾賷 丿丕卅賲丕賸 賵乇丕亍 丕賱賲噩丿 賵鬲丨胤亘賲 丕爻賵丕乇 丕賱賲丿賳 丕賱毓鬲賷賯丞 賵丕賱丕亘賳賷丞 丕賱卮丕賴賯丞 毓賱賶 乇丐賵爻 丕氐丨丕亘賴丕 賵爻亘賷 丕噩賲賱 賳爻丕亍 丕賱亘賱丕丿 丕賱丕禺乇賶.. 兀禺賷賱賷賵爻 丕賱匕賷 賱賲 賷丿丕賴賲賴 賷賵賲丕賸 丕賱卮亘毓 賲賳 賯鬲賱 丕賱丕亘胤丕賱 賮賷 氐賷丨丕鬲 丕賱賯鬲丕賱 賵賱丕 賲賳丕夭賱丞 丕賱噩亘丕亘乇丞 賵爻丨賯賴賲 賮賷 賲卮丕賴丿 丿乇丕賲賷丞 賰孬賷乇丞貙 賰丕賳 丌禺乇賴丕 賲毓 賴賰鬲賵乇 氐丕丨亘 胤乇賵丕丿丞..
兀禺賷賱賷賵爻 賴賳丕賰 噩丕賱爻丕賸 賮賷 禺賷賲鬲賴 睾丕囟亘丕賸 鬲睾賳賷 廿賱賴丞 丕賱卮毓乇 賳賮爻賴丕 賮賷 賵氐賮 毓賳賮賵丕賳 睾囟亘賴貙 賷氐亘 丕賱賱毓賳丕鬲 毓賱賶 丕賱賷賵賲 丕賱匕賷 賯乇乇 賮賷賴 丕賱丕亘丨丕乇 賵賲賯丕鬲賱丞 丕賴賱 胤乇賵丕丿丞貙 匕賱賰 賱賲 賷賰賳 亘爻亘亘 鬲賱賰 丕賱賲丨馗賷丞 丕賱鬲賷 賯乇乇 丕噩丕賲賲賳賵賳 兀賳 賷亘賯賷賴丕 賱賳賮爻賴貙 禺乇賷爻卅賷爻 丕賱賮丕鬲賳丞 丕賱鬲賷 毓卮賯賴丕 兀噩丕賲賲賳賵賳 賵鬲賲乇丿 毓賱賶 亘胤賱賴 丕禺賷賱賷賵爻 賵丕賳鬲夭毓 鬲賱賰 丕賱噩賲賷賱丞 賲賳 亘賷賳 匕賱賰 丕賱丕爻丿 丕賱賴丕卅噩 丕賱賲爻賲賶 兀禺賷賱賷賵爻..
兀禺賷賱賷賵爻 賵丨賷賵丕賳 丕賱睾囟亘 賮賷 丿丕禺賱賴 鬲丨賵賱丕 廿賱賶 噩亘賱 賱丕 賷鬲夭丨丨 賯乇乇 賮賷賴丕 兀賳 賷鬲乇賰 丕賱丌禺賷賷賳 賱賷賵丕噩賴賵丕 賲氐賷乇賴賲 賮賷 賲賵丕噩賴丞 丕賱胤乇賵丕丿賷賷賳 丕賱匕賷 賰丕賳賵丕 賷鬲賱賴賮賵賳 賱賲孬賱 賴匕丕 丕賱賳夭丕毓 丕賱賲丐丿賷 廿賱賶 賮氐賱 丕賰亘乇 賯賵丞 毓賳 賲賷丿丕賳 丕亘賳丕亍 丕賱丕睾乇賷賯貙 丕賱匕賷 賯乇乇賵丕 丕賳 賷賵丕氐賱賵丕 丕賱丨乇亘 亘丿賵賳賴..
鬲賱賰 丕賱睾囟亘丞 賴賷 丕賱鬲賷 鬲兀爻爻鬲 毓賱賷賴丕 丕賱廿賱賷丕匕丞 - 丕賷 睾囟亘丞 兀禺賷賱賷賵爻 - 賵賴賷 丕賱鬲賷 賰丕賳鬲 丕賱亘丿丕賷丞 賱賰鬲丕亘丞 賴匕賴 丕賱賲賱丨賲丞 丕賱禺賱丕亘丞.. 賵丕賱鬲賷 賲胤賱毓賴丕 :-
" 睾賾賳賽 賱賷 賷丕 乇亘丞 丕賱卮毓乇 毓賳 睾囟亘丞 兀禺賷賱賷賵爻 亘賳 亘賷賱賷賵爻 丕賱賲丿賲乇丞貙 丕賱鬲賷 兀賱丨賯鬲 亘丕賱丌禺賷賷賳 賲丌爻賷 鬲賮賵賯 丕賱丨氐乇 貙 賵丿賮毓鬲 廿賱賶 丕賱毓丕賱賲 丕賱丌禺乇 (賴丕丿賷爻 -丕賱毓丕賱賲 丕賱爻賮賱賷) 亘兀乇賵丕丨 丕賱賰孬賷乇賷賳 賲賳 丕賱丕亘胤丕賱 丕賱亘賵丕爻賱 貙亘賷賳賲丕 噩毓賱鬲 賲賳 兀噩爻丕丿賴賲 賱賯賲丞 爻丕卅睾丞 賱賱賰賱丕亘 賵賰賱 兀賳賵丕毓 丕賱噩賵丕乇丨貙 賵賴賰匕丕 鬲丨賯賯鬲 賲卮賷卅丞 夭賷賵爻 貙 睾賾賳賽 賲賲賳 噩丕亍鬲 賴匕賴 丕賱睾囟亘丞 亘丕丿卅丞 賲賳 丨賷孬 兀禺匕 丕賱卮賯丕賯 亘賷賳 (兀噩丕賲賲賳賵賳) 賲賱賰 丕賱乇噩丕賱 賵亘賷賳 兀禺賷賱賷賵爻 (卮亘賷賴 丕賱丌賱賴丞) ... 賲賳 賲賽賳 亘賷賳 丕賱丌賱賴丞 賴賵 匕賱賰 丕賱匕賷 丿賮毓 丕賱兀孬賳賷賳 廿賱賶 丕賱氐乇丕毓 賮賷賲丕 亘賷賳賴賲丕.. 兀賳賴 (兀亘賵賱賱賵賳) 丕賱賵囟丕亍貙 賮賴賵 丕賱匕賷 兀丿賶 睾囟亘賴 廿賱賶 丕賳鬲卮丕乇 丕賱胤丕毓賵賳 丕賱賲卮丐賵賲 亘賷賳 丕賱賲賯賱鬲賱賷賳 賵廿賱賶 賴賱丕賰 丕賱乇噩丕賱 "
賲丕 兀賳 亘丿兀鬲 亘賯乇丕亍丞 賴匕丕 丕賱兀亘賷丕鬲 丕賱兀賵賱賶 丨鬲賶 卮毓乇鬲 亘兀賱賮丞 睾乇賷亘丞 鬲噩丕賴 賲丕 兀賯乇兀 賵賰兀賳賴丕 賲賳丨賵鬲丞 賱鬲亘賯賶 禺丕賱丿丞 賵毓氐賷丞 毓賱賶 丕賱賳爻賷丕賳 賵毓賱賶 馗賴乇 丕賱丨賷丕丞 鬲丿亘 賰賱賲丕鬲賴丕 賵乇賵賳賯賴丕 丕賱爻丕丨乇 丕賱賲賱卅 亘丕賱賲鬲賳丕賯囟丕鬲 賵丕賱噩賳賵賳貙 賲爻丕丨丞 賰亘賷乇丞 賲賳 丕賱禺賷丕賱 賵丕賱卮睾賮 鬲賲賳丨賴丕 賱賰 丕賱兀亘賷丕鬲 丕賱兀賵賱賶 賵賴賷 鬲賯賳鬲氐 毓賲丿丕賸 賲禺賷賱丞 丕賱賯丕乇卅 賱賱匕賴丕亘 亘毓賷丿丕賸 噩丿丕賸 丨賷孬 賱丕 賵噩賵丿 廿賱丕 賱鬲賱賰 丕賱孬賱丞 賲賳 丕賱兀亘胤丕賱 賵丕賱賲丿賳 丕賱丨氐賷賳丞 賵丕賱爻賮賳 丕賱賲賯賵爻丞 丕賱鬲賷 鬲丨賲賱 毓賱賶 馗賴乇賴丕 匕賱賰 丕賱毓丿丿 丕賱賴丕卅賱 賲賳 丕賱賲賯丕鬲賱賷賳 丕賱賲胤丕賱亘賷賳 亘丕賱賲噩丿貙 鬲賱賰 丕賱爻賮賳 丕賱爻丕卅乇丞 賮賷 囟亘丕亘 丕賱亘丨乇 賵賲卮丕賴丿 丕賱睾乇賵亘 丕賱禺丕賱丿丞..
賵賰賲 賰丕賳 賯賱亘 兀禺賷賱賷賵爻 賯丕爻賷丕賸 丨賷賳賴丕 賵賴賵 賷噩丿賮 賮賷 丨賯 兀氐丨丕亘賴 賴賳丕賰 賵賷鬲乇賰賴賲 爻乇賷毓 丕賱賯丿賲 賵賴賲 賷購賯鬲賱賵賳 毓賱賶 賷丿 賴賷賰鬲賵乇 兀亘賳 亘乇賷丕賲賵爻 賵亘賯賷丞 丕賱胤乇賵丕丿賷賷賳貙 氐乇禺丕鬲 賳賷爻鬲賵乇 丕賱丨賰賷賲 鬲賲賱兀 爻丕丨丞 丕賱賯鬲丕賱 賲賳丕丿賷丕賸 亘丕賱賵賷賱 毓賱賶 賲賳 賷賳爻丨亘 賲賳 丕賱賲毓乇賰丞 賵賷匕賰乇賴賲 亘丕賱賲噩丿 賮賷 賰賱 丨賷賳貙兀噩丕賲賲賳賵賳 賮賷 丨丕賱丞 丕賱睾囟亘 賵丕賱乇孬丕亍 賵賴賵 賷卮丕賴丿 丨卮賵丿 丕賱胤乇賵丕丿賷賷賳 賲鬲賯丿賲丞 賳丨賵 爻賮賳 丕賱丌禺賷賷賳 賲賳匕乇丞 亘廿丨乇丕賯 丕賱爻賮賳 賳賮爻賴丕.. 兀賵丿賷爻賷賵爻 乇亘賷亘 丕賱丌賱賴丞 賷氐賷丿 兀乇賵丕丨 丕賱胤乇賵丕丿賷賷賳 亘乇丨賲賴賴 丕賱匕賷 賱丕 夭丕賱 賷禺鬲乇賯 丕賱兀噩爻丕丿 丕賱胤乇賵丕丿賷丞貙 丕賱孬賳丕卅賷 兀賷丕爻 賷鬲囟乇毓丕賳 賱賱丌賱賴丞 兀賳 賱丕 賷賲賳丨 丕賱賳氐乇 賱賱胤乇賵丕丿賷賷賳貙 賵賲丕夭丕賱鬲 乇賲丕丨 丕賱丌禺賷賷賳 鬲賳丨乇賮 毓賳 賲爻丕乇賴丕 亘廿乇丕丿丞 " 夭賷賵爻 " 丕賱匕賷 賱賲 賷賰賳 賷兀亘賴 賱鬲賱賰 丕賱鬲囟乇毓丕鬲 丕賱匕賷 賯丿賲賴丕 兀噩丕賲賲賳賵賳 賵賲賳 賯亘賱賴 賳賷爻鬲賵乇 丕賱丨賰賷賲 賵賱丕 賱賱賯乇丕亘賷賳 丕賱鬲賷 鬲賲 匕亘丨賴丕 賱賴匕丕 丕賱廿賱賴 丕賱賯丕爻賷 丕賱匕賷 賲賰賳 丕賱胤乇賵丕丿賷賷賳 賲賳 丕賱睾賱亘丞 賮賷 丕賱賰孬賷乇 賲賳 丕賱噩賵賱丕鬲 丨鬲賶 賰丕丿 兀噩丕賲賲賳賵賳 兀賳 賷毓賱賳 丕賱丕賳爻丨丕亘 賳丨賵 丕賱爻賮賳 禺賵賮丕賸 賲賳 廿丨乇丕賯 丕賱爻賮賳 丕賱賲賯賵爻丞 賵丕賱賵賯賵毓 賮賷 卮乇賰 兀毓丿丕卅賴賲貙 賱賵賱丕 賷賯馗丞 丕賱孬賳丕卅賷 兀賷丕爻 丕賱匕賷賳 丕爻鬲亘爻賱丕 賱賱丿賮丕毓 毓賳 丕賱爻賮賳 賵丕賱匕賵丿 毓賳 丌禺乇 賲丕 鬲亘賯賶 賲賳 丕賱賲毓賳賵賷丕鬲 賱賱丌禺賷賷賳 丕賱賲鬲賲乇賰夭賷賳 毓賳丿 丕賱爻賮賳貙 賳賯胤丞 丕賱鬲丨賵賱 丨丿孬鬲 毓賳丿賲丕 賴亘 亘丕鬲乇賵賰賱賵爻 賷丨囟 兀禺賷賱賷賵爻 毓賱賶 丕賱賯鬲丕賱 賵賷匕賰乇賴 亘賲丌賱 丕賱丕睾乇賷賯 丕賱匕賷 爻賷賰賵賳 亘卮毓丕賸 毓賱賶 賷丿 丕賱孬丕卅乇賷賳 賲賳 丕賴賱 胤乇賵丕丿丞 賵賲賳 禺賱賮 亘毓囟 丕賱丌賱賴丞 丕賱鬲賷 賰丕賳鬲 鬲乇睾亘 賮賷 爻丨賯 丕賱噩賷卮 丕賱丕睾乇賷賯賷.. 亘丕鬲乇賵賰賱賵爻 丨丕賵賱 丕賳 賷爻賰賳 睾囟亘丞 丕禺賷賱賷賵爻貙 賱賲 賷爻鬲胤賷毓 匕賱賰 丕賱卮賯賷 丕賳 賷賮毓賱 卮賷卅丕賸 爻賵賶 賷鬲丿乇毓 亘丿乇毓 丕禺賷賱賷賵爻 賵賷賵丕噩賴 丨卮賵丿 丕賱胤乇賵丕丿賷賷賳 賵丨丿賴..
賵賱賯丿 毓賱賲 丕禺賷賱賷賵爻 賴賳丕賱賰 賲毓賳賶 丕賱丕賱賲 賲毓賳賶 丕賱睾囟亘 賱兀賵賱 賲乇丞貙 賲毓賳賶 丕賱賮賳丕亍貙 賲毓賳賶 丕賱毓丿賲貙 賲毓賳賶 丕賱禺賵丕亍貙 賲毓賳賶 丕賳 鬲賮賯丿 賰賱 卮卅 賱兀噩賱 賱丕 卮卅.. 賲毓賳賶 兀賳 鬲賰賵賳 賲丨亘胤丕賸 丨鬲賶 賲賳 賳賮爻賰貙 賲賳 賷賯賷賳賰 丕賳賰 賯丿 毓丕賷賳鬲 丕丨夭丕賳 丕賱毓丕賱賲 賮賷 賯賱亘賰貙 丕爻鬲噩賵丕亘 匕乇丕鬲 丕賱丨賯賷賯丞 丕賱禺丕賮鬲丞 丕賱鬲賷 鬲賳丕丿賷 亘賰 廿賱賶 丕賱毓丕賱賲 丕賱賮丕賳賷.. 賱賲 賷賰賳 睾囟亘丕賸 亘賱 丨夭賳丕賸 丿賮賷賳丕賸 賵賰兀賳賴 賰丕賳 賷毓賱賲 兀賳 丕賱丕賷丕賲 鬲禺亘卅賴丕 賱賴 賵賴賵 毓賱賶 兀乇囟 胤乇賵丕丿丞.. 兀禺賷賱賷賵爻 鬲賲夭賯 賴賳丕賰 賵賲夭賯 賲丕丨賵賱賴..
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賴匕賴 丕賱賲賱丨賲丞 兀爻鬲胤賷毓 兀賳 兀賯賵賱 賲賳 兀噩賲賱 賲丕 賯乇兀鬲 賵賲丕 爻兀賯乇兀 丨鬲賶貙 鬲丨賮丞 兀丿亘賷丞 賲匕賴賱丞 丨賯丕賸 賵賴賷 鬲丨賰賷 鬲賱賰 丕賱兀丨丿丕孬 亘氐賵乇丞 賲卮賵賯丞 爻丕丨乇丞 毓氐賷丞 毓賱賶 丕賱丕丿乇丕賰 兀賳賴丕 賰賱賲丕鬲 賲噩乇丿丞 貙賰兀賳賴丕 兀爻鬲禺乇噩鬲 賲賳 亘卅乇 丕賱噩賲丕賱 丕賱賯丕亘毓 賮賷 爻丨乇 賴匕丕 丕賱毓丕賱賲 賰賱賴.. 賲匕賴賱丞 鬲亘賯賶 賴匕賴 丕賱賲賱丨賲丞 賮賷 賲禺賱賷鬲賷 氐毓亘丞 丕賱賳爻賷丕賳 賵丕賱鬲锟斤拷賱賷賮 賲乇丞 兀禺乇賶.... 毓丕胤賮賷 鬲賱賯丕卅賷 睾乇賷亘 爻丕丨乇 亘丕乇毓 .. 賱賷爻鬲 賲噩丕賲賱丞 亘賱 賴賷 丨賯賷賯丞貙 亘賱 賵賯胤乇丞 爻丕賰賳丞 賲賳 亘丨乇 噩賲丕賱 賴匕賴 丕賱乇丕卅毓丞 丕賱丕賳爻丕賳賷丞..
賵兀丿乇賰 鬲賲丕賲丕賸 兀賳 賱賵 丕噩鬲賲毓 賲賲孬賱賵丕 賵賮賳丕賳賵丕 丕賱毓丕賱賲 毓賱賶 兀賳 賷噩爻丿賵丕 賴匕賴 丕賱賲賱丨賲丞 毓賱賶 兀乇囟 丕賱賵丕賯毓 兀賵 賰賱賵丨丞 兀賵 賱賲丕 丕爻鬲胤丕毓賵丕 廿賱賶 匕賱賰 爻亘賷賱丕..
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賲賳 丕賱賲賱丕丨馗 毓丿丿 丕賱卮禺氐賷丕鬲 賮賷 丕賱賲賱丨賲丞 賰亘賷乇 噩丿丕賸 噩丿丕賸 賱丕 賷賲賰賳 丨氐乇賴丕 貙 兀爻賲丕亍 賰孬賷乇丞 賱賲賯丕鬲賱賷賳 賵丌賱賴丞 賵兀亘胤丕賱 賲毓馗賲賴丕 鬲兀鬲賷 賰卮禺氐賷丕鬲 賴丕賲卮賷丞 賱丕 賵夭賳 賱賴丕 賮賷 毓賲賱賷丞 亘賳丕亍 丕賱賲賱丨賲丞 貙廿賳 賴賷 廿賱丕 賲噩乇丿 賵乇賯丞 賷賱賯賷 亘賴丕 賴賵賲賷乇賵爻 賮賷 氐賷丨丞 丕賱丨乇亘 賮兀賲丕 兀賳 鬲鬲毓乇囟 賱賱賯鬲賱 賲亘丕卮乇丞 亘毓丿 匕賰乇賴丕 賵賴賵 睾丕賱亘丕賸 賲丕賷丨丿孬貙 兀賵 兀賳賴丕 鬲鬲毓乇囟 賱賱賳爻賷丕賳 賲賳 賯亘賱 賴賵賲賷乇賵爻 賵賰賲丕 賯丕賱 丕賱賳賯丕丿 " 兀賳 賴賵賲賷乇賵爻 賰丕賳 賷睾賮賵 兀丨賷丕賳丕賸 兀孬賳丕亍 鬲兀賱賷賮賴 賱賱賲賱丨賲丞 " 貙 賵賲賳 丕賱噩丿賷乇 亘丕賱匕賰乇 兀賳 賴賳丕賰 卮禺氐賷丞 鬲毓乇囟鬲 賱賱賯鬲賱 賮賷 亘丿丕賷丞 丕賱賲毓丕乇賰 丕賱鬲賷 兀卮鬲毓賱鬲 亘賷賳 丕賱胤乇賵丕丿賷賷賳 賵丕賱丿丕賳丕卅賷賷賳 孬賲 匕購賰乇 亘毓丿 匕賱賰 賵賴賵 賷賯丕鬲賱 孬丕賳賷丞 賮賷 氐賷丨丞 丕賱丨乇亘 賵賱賱爻賵亍 丨馗賴 賯購鬲賱 賲噩丿丿丕賸 .. 匕賱賰 賲丕 賷囟賮賷 賮賷 乇兀賷賷 噩賵丕賸 賲賳 丕賱亘乇丕亍丞 賵丕賱睾乇丕亘丞 賮賷 丕賱賯氐丞 賵賰兀賳賴丕 鬲噩乇賷 禺丕乇噩 丨丿賵丿 丕賱夭賲賳.. 賵賳氐賷丨丞 賱丕 鬲丨賮馗 廿賱丕 兀爻賲丕亍 丕賱卮禺氐賷丕鬲 丕賱乇卅賷爻賷丞 賮賷 丕賱賲賱丨賲丞 賵廿賱丕 爻賷禺鬲賱胤 毓賱賷賰 丕賱卮禺氐賷丕鬲 賵賷氐賷亘賰 賳賵毓 賲賳 丕賱賲賱賱 鬲噩丕賴 丕賱賰鬲丕亘貙 鬲丕亘毓 丿丕卅賲丕賸 賵賱丕 鬲賴鬲賲貙 噩賲丕賱 丕賱賲賱丨賲丞 賮賷 丕賱丕爻鬲賲乇丕乇賷丞 賵賲賵丕賰亘丞 噩賳賵賳 賵丨丕賱丕鬲 賴匕賷丕賳 賴賵賲賷乇賵爻..
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賷賰賮賷 兀賳 兀賯賵賱 兀賳 丕賱鬲乇噩賲丞 丕賱鬲賷 賯乇兀鬲賴丕 賱丕 鬲賵噩丿 賰賱賲丕鬲 鬲氐賮 賲丿賶 丕鬲爻丕賯賴丕 賵噩賲丕賱賴丕 賵兀亘丿丕毓賴丕 丕賱丕丿亘賷 賵丕賱匕賵賯 丕賱乇丕卅毓 賮賷 廿禺鬲賷丕乇 丕賱賲賮乇丿丕鬲 賵丕賱噩賲賱 賵毓賲賯 丨賯賷賯賷 賮賷 丕賱鬲乇噩賲丞貙 丕賱賲鬲乇噩賲 兀丨賲丿 毓鬲賲丕賳 賵賲毓賴 毓丿丿 賲賳 丕賱賲鬲乇噩賷賳 丕賱丌禺乇賷賳 賯囟賵丕 爻賳賵丕鬲 毓丿丞 賱賷禺乇噩賵丕 亘賴匕賴 丕賱胤賱丞 丕賱亘賴賷丞 丕賱乇丕賯賷丞貙 賲賳 兀噩賲賱 丕賱鬲乇噩賲丕鬲 丕賱鬲賷 賯乇兀鬲賴丕貙 賷爻鬲丨賯 丕賱孬賳丕亍 賵丕賱鬲賯丿賷乇 賵丕賱卮賰乇 賱賴匕丕 丕賱賲噩賴賵丿 丕賱噩亘丕乇 丕賱匕賷 賴賵 亘丕賱賮毓賱 鬲丨賮丞 賱丕 賷賯丿乇賴丕 廿賱丕 兀氐丨丕亘 丕賱匕賵賯 丕賱兀氐賷賱 賮賷 丕賱兀丿亘..
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賱賷爻鬲 賲乇丕噩毓丞 賴賷 鬲賱賰 丕賱鬲賷 賰鬲亘鬲賴丕貙 亘賱 賲噩乇丿 禺賵丕胤乇 毓賳 丕賱賰鬲丕亘 乇丕賯 賱賷 兀賳 兀囟賷賮賴丕 賴賳丕..
氐乇丕毓 賲丨鬲丿賲 亘丿兀 亘廿禺鬲胤丕賮 丕賱噩賲賷賱丞 "賴賷賱賷賳丕" 賲賳 兀乇囟 丕賱丕睾乇賷賯 毓賱賶 丕賱賰爻賳丿乇賵爻 "亘丕乇爻" 匕丕賰 丕賱卮賯賷 丕賱匕賷 噩賱亘 丕賱賵賷賱丕鬲 賱亘賱丕丿賴 丕賱匕賷 賵氐賮賴 賴賷賰鬲賵乇 匕丕鬲賴 賲乇丞 " 丕賷賴丕 丕賱賲毓鬲賵賴貙 賱賷鬲 丕賱丕乇囟 賯丿 亘賱毓鬲賰 賲賳 賯亘賱 兀賳 鬲乇賶 丕賱賳賵乇 賮賷 賲丿賷賳丞 亘乇賷丕賲賵爻" ..兀鬲賮賯 兀賳 亘丕乇賷爻 賰丕賳 賴賵丕賷丕賸 賱賱賳爻丕亍 賲賮鬲賵賳丕 亘噩賲丕賱賴 賵賲丨亘丕賸 賱賴匕丕 丕賱賳賵毓 賲賳 丕賱賲睾丕賲乇丕鬲 丕賱鬲賷 鬲丿賮毓賴 賳賮爻賴 廿賱賶 禺胤賮 丕賱賳爻丕亍 賵丕賱乇噩賵毓 亘賴賳 廿賱賶 胤乇賵丿丕丞 賰賭 爻亘賷丕鬲 賵兀爻賷乇丕鬲 賮賷 賯氐乇賴貙 賱賲 賷禺胤乇 兀賳賴 賯丿 噩賱亘 丕賱賵亘丕賱 毓賱賶 卮毓亘賴 賯丿 鬲爻亘亘 賮賷 賴賱丕賰 兀賲鬲賴 賵賲丨賵賴丕 賲賳 禺乇賷胤丞 丕賱毓丕賱賲 丨賷賳 兀賮鬲鬲賳 亘賭 " 賴賱賷賳賷丕" 丕賱噩賲賷賱丞 夭賵噩丞 賲賷賳賱丕丐爻 卮賯賷賯 丕賱賲賱賰 兀噩丕賲賳賵賳貙 廿禺鬲胤賮賴丕 賲賳 丕賱賯氐乇 賵兀亘丨乇 亘賴丕 廿賱賶 胤乇賵丕丿丞 賱鬲氐亘丨 賲丨馗賷丞 賱賴 賴賳丕賰..
賲丕 兀賳 兀丿乇賰 賲賷賳賱丕丐爻 匕賱賰 丕賱匕賷 丨丿孬 丨鬲賶 賯丕賲 亘鬲丨賮夭 兀禺賷賴 毓賱賶 鬲噩賴賷夭 丕賱毓丿丞 賵卮賳 睾丕乇丞 毓賱賶 胤乇賵丕丿丞 丕賱鬲毓賷爻丞貙 兀噩丕亘賴 卮賯賷賯賴 廿賱賶 匕賱賰 亘賱 賵兀噩鬲賲毓 噩賲賷毓 賯亘丕卅賱 賵賲賱賵賰 賵爻丕丿丞 丕賱丕睾乇賷賯 毓賱賶 賲卮丕乇賰丞 丕賱丨賲賱丞 丕賱爻丕毓賷丞 兀賵賱丕賸 賱兀乇噩丕毓 夭賵噩丞 賲賷賳賱丕丐爻 賵孬丕賳賷丕賸 賳賴亘 賰賳賵夭 胤乇賵丕丿丞 丕賱鬲賷 賰丕賳鬲 匕丕卅毓丞 丕賱氐賷鬲 賮賷 賲賯丿丕乇 賰賳賵夭賴丕 賵睾賳丕賴丕 丕賱鬲賷 賰丕賳鬲 鬲鬲亘丕賴賶 亘賴丕 賮賷 丕賱毓丕賱賲 丕賱賯丿賷賲..
賵氐賱 丕賱賲丿丿 賲賳 賰賱 賲賰丕賳 賵丕丨鬲卮丿鬲 丕賱賯賵丕鬲 丕賱丕禺賷亘丞 賵丕賱丿丕賳丕卅賷賷賳 賲噩鬲賲毓賷賳 賱亘丿亍 丕賱丨賲賱丞 賵丕賱爻胤賵 毓賱賶 胤乇賵丕丿丞 丕賱賲噩賷丿丞 賲毓賯賱 賴賰鬲賵乇 賵賲賳 賯亘賱 匕賱賰 亘乇賷丕賲賵爻 匕賱賰 丕賱卮賷禺 丕賱賴乇賲 丨亘賷亘 丕賱丕賱賴丞.. 亘毓丿 鬲爻毓 爻賳賵丕鬲 賲賳 丕賱丕亘丨丕乇 賵賲賰丕亘丿丞 丕賱毓賳丕亍 賰賲丕 鬲氐賮 丕賱賲賱丨賲丞貙 賵氐賱鬲 丕賱丨卮賵丿 丕賱毓馗賷賲丞 賷鬲賯丿賲賴丕 兀噩丕賲賲賳賵賳 丕賱賲賱賰 亘賳賮爻賴 賵賲毓 卮賯賷賯賴 丕賱賲鬲乇賮 丕賱兀丨夭丕賳貙 賵爻賷丿 丕賱睾囟亘 賵丕賱賯鬲丕賱 爻乇賷毓 丕賱賯丿賲 賰賲丕 賷氐賮賴 賴賵賲賷乇賵爻 " 兀禺賷賱賷賵爻 " 兀賵 兀禺賷賱 丕賱亘胤賱 丕賱丕睾乇賷賯賷 丕賱禺丕賱丿 丕賱爻丕睾賷 丿丕卅賲丕賸 賵乇丕亍 丕賱賲噩丿 賵鬲丨胤亘賲 丕爻賵丕乇 丕賱賲丿賳 丕賱毓鬲賷賯丞 賵丕賱丕亘賳賷丞 丕賱卮丕賴賯丞 毓賱賶 乇丐賵爻 丕氐丨丕亘賴丕 賵爻亘賷 丕噩賲賱 賳爻丕亍 丕賱亘賱丕丿 丕賱丕禺乇賶.. 兀禺賷賱賷賵爻 丕賱匕賷 賱賲 賷丿丕賴賲賴 賷賵賲丕賸 丕賱卮亘毓 賲賳 賯鬲賱 丕賱丕亘胤丕賱 賮賷 氐賷丨丕鬲 丕賱賯鬲丕賱 賵賱丕 賲賳丕夭賱丞 丕賱噩亘丕亘乇丞 賵爻丨賯賴賲 賮賷 賲卮丕賴丿 丿乇丕賲賷丞 賰孬賷乇丞貙 賰丕賳 丌禺乇賴丕 賲毓 賴賰鬲賵乇 氐丕丨亘 胤乇賵丕丿丞..
兀禺賷賱賷賵爻 賴賳丕賰 噩丕賱爻丕賸 賮賷 禺賷賲鬲賴 睾丕囟亘丕賸 鬲睾賳賷 廿賱賴丞 丕賱卮毓乇 賳賮爻賴丕 賮賷 賵氐賮 毓賳賮賵丕賳 睾囟亘賴貙 賷氐亘 丕賱賱毓賳丕鬲 毓賱賶 丕賱賷賵賲 丕賱匕賷 賯乇乇 賮賷賴 丕賱丕亘丨丕乇 賵賲賯丕鬲賱丞 丕賴賱 胤乇賵丕丿丞貙 匕賱賰 賱賲 賷賰賳 亘爻亘亘 鬲賱賰 丕賱賲丨馗賷丞 丕賱鬲賷 賯乇乇 丕噩丕賲賲賳賵賳 兀賳 賷亘賯賷賴丕 賱賳賮爻賴貙 禺乇賷爻卅賷爻 丕賱賮丕鬲賳丞 丕賱鬲賷 毓卮賯賴丕 兀噩丕賲賲賳賵賳 賵鬲賲乇丿 毓賱賶 亘胤賱賴 丕禺賷賱賷賵爻 賵丕賳鬲夭毓 鬲賱賰 丕賱噩賲賷賱丞 賲賳 亘賷賳 匕賱賰 丕賱丕爻丿 丕賱賴丕卅噩 丕賱賲爻賲賶 兀禺賷賱賷賵爻..
兀禺賷賱賷賵爻 賵丨賷賵丕賳 丕賱睾囟亘 賮賷 丿丕禺賱賴 鬲丨賵賱丕 廿賱賶 噩亘賱 賱丕 賷鬲夭丨丨 賯乇乇 賮賷賴丕 兀賳 賷鬲乇賰 丕賱丌禺賷賷賳 賱賷賵丕噩賴賵丕 賲氐賷乇賴賲 賮賷 賲賵丕噩賴丞 丕賱胤乇賵丕丿賷賷賳 丕賱匕賷 賰丕賳賵丕 賷鬲賱賴賮賵賳 賱賲孬賱 賴匕丕 丕賱賳夭丕毓 丕賱賲丐丿賷 廿賱賶 賮氐賱 丕賰亘乇 賯賵丞 毓賳 賲賷丿丕賳 丕亘賳丕亍 丕賱丕睾乇賷賯貙 丕賱匕賷 賯乇乇賵丕 丕賳 賷賵丕氐賱賵丕 丕賱丨乇亘 亘丿賵賳賴..
鬲賱賰 丕賱睾囟亘丞 賴賷 丕賱鬲賷 鬲兀爻爻鬲 毓賱賷賴丕 丕賱廿賱賷丕匕丞 - 丕賷 睾囟亘丞 兀禺賷賱賷賵爻 - 賵賴賷 丕賱鬲賷 賰丕賳鬲 丕賱亘丿丕賷丞 賱賰鬲丕亘丞 賴匕賴 丕賱賲賱丨賲丞 丕賱禺賱丕亘丞.. 賵丕賱鬲賷 賲胤賱毓賴丕 :-
" 睾賾賳賽 賱賷 賷丕 乇亘丞 丕賱卮毓乇 毓賳 睾囟亘丞 兀禺賷賱賷賵爻 亘賳 亘賷賱賷賵爻 丕賱賲丿賲乇丞貙 丕賱鬲賷 兀賱丨賯鬲 亘丕賱丌禺賷賷賳 賲丌爻賷 鬲賮賵賯 丕賱丨氐乇 貙 賵丿賮毓鬲 廿賱賶 丕賱毓丕賱賲 丕賱丌禺乇 (賴丕丿賷爻 -丕賱毓丕賱賲 丕賱爻賮賱賷) 亘兀乇賵丕丨 丕賱賰孬賷乇賷賳 賲賳 丕賱丕亘胤丕賱 丕賱亘賵丕爻賱 貙亘賷賳賲丕 噩毓賱鬲 賲賳 兀噩爻丕丿賴賲 賱賯賲丞 爻丕卅睾丞 賱賱賰賱丕亘 賵賰賱 兀賳賵丕毓 丕賱噩賵丕乇丨貙 賵賴賰匕丕 鬲丨賯賯鬲 賲卮賷卅丞 夭賷賵爻 貙 睾賾賳賽 賲賲賳 噩丕亍鬲 賴匕賴 丕賱睾囟亘丞 亘丕丿卅丞 賲賳 丨賷孬 兀禺匕 丕賱卮賯丕賯 亘賷賳 (兀噩丕賲賲賳賵賳) 賲賱賰 丕賱乇噩丕賱 賵亘賷賳 兀禺賷賱賷賵爻 (卮亘賷賴 丕賱丌賱賴丞) ... 賲賳 賲賽賳 亘賷賳 丕賱丌賱賴丞 賴賵 匕賱賰 丕賱匕賷 丿賮毓 丕賱兀孬賳賷賳 廿賱賶 丕賱氐乇丕毓 賮賷賲丕 亘賷賳賴賲丕.. 兀賳賴 (兀亘賵賱賱賵賳) 丕賱賵囟丕亍貙 賮賴賵 丕賱匕賷 兀丿賶 睾囟亘賴 廿賱賶 丕賳鬲卮丕乇 丕賱胤丕毓賵賳 丕賱賲卮丐賵賲 亘賷賳 丕賱賲賯賱鬲賱賷賳 賵廿賱賶 賴賱丕賰 丕賱乇噩丕賱 "
賲丕 兀賳 亘丿兀鬲 亘賯乇丕亍丞 賴匕丕 丕賱兀亘賷丕鬲 丕賱兀賵賱賶 丨鬲賶 卮毓乇鬲 亘兀賱賮丞 睾乇賷亘丞 鬲噩丕賴 賲丕 兀賯乇兀 賵賰兀賳賴丕 賲賳丨賵鬲丞 賱鬲亘賯賶 禺丕賱丿丞 賵毓氐賷丞 毓賱賶 丕賱賳爻賷丕賳 賵毓賱賶 馗賴乇 丕賱丨賷丕丞 鬲丿亘 賰賱賲丕鬲賴丕 賵乇賵賳賯賴丕 丕賱爻丕丨乇 丕賱賲賱卅 亘丕賱賲鬲賳丕賯囟丕鬲 賵丕賱噩賳賵賳貙 賲爻丕丨丞 賰亘賷乇丞 賲賳 丕賱禺賷丕賱 賵丕賱卮睾賮 鬲賲賳丨賴丕 賱賰 丕賱兀亘賷丕鬲 丕賱兀賵賱賶 賵賴賷 鬲賯賳鬲氐 毓賲丿丕賸 賲禺賷賱丞 丕賱賯丕乇卅 賱賱匕賴丕亘 亘毓賷丿丕賸 噩丿丕賸 丨賷孬 賱丕 賵噩賵丿 廿賱丕 賱鬲賱賰 丕賱孬賱丞 賲賳 丕賱兀亘胤丕賱 賵丕賱賲丿賳 丕賱丨氐賷賳丞 賵丕賱爻賮賳 丕賱賲賯賵爻丞 丕賱鬲賷 鬲丨賲賱 毓賱賶 馗賴乇賴丕 匕賱賰 丕賱毓丿丿 丕賱賴丕卅賱 賲賳 丕賱賲賯丕鬲賱賷賳 丕賱賲胤丕賱亘賷賳 亘丕賱賲噩丿貙 鬲賱賰 丕賱爻賮賳 丕賱爻丕卅乇丞 賮賷 囟亘丕亘 丕賱亘丨乇 賵賲卮丕賴丿 丕賱睾乇賵亘 丕賱禺丕賱丿丞..
賵賰賲 賰丕賳 賯賱亘 兀禺賷賱賷賵爻 賯丕爻賷丕賸 丨賷賳賴丕 賵賴賵 賷噩丿賮 賮賷 丨賯 兀氐丨丕亘賴 賴賳丕賰 賵賷鬲乇賰賴賲 爻乇賷毓 丕賱賯丿賲 賵賴賲 賷購賯鬲賱賵賳 毓賱賶 賷丿 賴賷賰鬲賵乇 兀亘賳 亘乇賷丕賲賵爻 賵亘賯賷丞 丕賱胤乇賵丕丿賷賷賳貙 氐乇禺丕鬲 賳賷爻鬲賵乇 丕賱丨賰賷賲 鬲賲賱兀 爻丕丨丞 丕賱賯鬲丕賱 賲賳丕丿賷丕賸 亘丕賱賵賷賱 毓賱賶 賲賳 賷賳爻丨亘 賲賳 丕賱賲毓乇賰丞 賵賷匕賰乇賴賲 亘丕賱賲噩丿 賮賷 賰賱 丨賷賳貙兀噩丕賲賲賳賵賳 賮賷 丨丕賱丞 丕賱睾囟亘 賵丕賱乇孬丕亍 賵賴賵 賷卮丕賴丿 丨卮賵丿 丕賱胤乇賵丕丿賷賷賳 賲鬲賯丿賲丞 賳丨賵 爻賮賳 丕賱丌禺賷賷賳 賲賳匕乇丞 亘廿丨乇丕賯 丕賱爻賮賳 賳賮爻賴丕.. 兀賵丿賷爻賷賵爻 乇亘賷亘 丕賱丌賱賴丞 賷氐賷丿 兀乇賵丕丨 丕賱胤乇賵丕丿賷賷賳 亘乇丨賲賴賴 丕賱匕賷 賱丕 夭丕賱 賷禺鬲乇賯 丕賱兀噩爻丕丿 丕賱胤乇賵丕丿賷丞貙 丕賱孬賳丕卅賷 兀賷丕爻 賷鬲囟乇毓丕賳 賱賱丌賱賴丞 兀賳 賱丕 賷賲賳丨 丕賱賳氐乇 賱賱胤乇賵丕丿賷賷賳貙 賵賲丕夭丕賱鬲 乇賲丕丨 丕賱丌禺賷賷賳 鬲賳丨乇賮 毓賳 賲爻丕乇賴丕 亘廿乇丕丿丞 " 夭賷賵爻 " 丕賱匕賷 賱賲 賷賰賳 賷兀亘賴 賱鬲賱賰 丕賱鬲囟乇毓丕鬲 丕賱匕賷 賯丿賲賴丕 兀噩丕賲賲賳賵賳 賵賲賳 賯亘賱賴 賳賷爻鬲賵乇 丕賱丨賰賷賲 賵賱丕 賱賱賯乇丕亘賷賳 丕賱鬲賷 鬲賲 匕亘丨賴丕 賱賴匕丕 丕賱廿賱賴 丕賱賯丕爻賷 丕賱匕賷 賲賰賳 丕賱胤乇賵丕丿賷賷賳 賲賳 丕賱睾賱亘丞 賮賷 丕賱賰孬賷乇 賲賳 丕賱噩賵賱丕鬲 丨鬲賶 賰丕丿 兀噩丕賲賲賳賵賳 兀賳 賷毓賱賳 丕賱丕賳爻丨丕亘 賳丨賵 丕賱爻賮賳 禺賵賮丕賸 賲賳 廿丨乇丕賯 丕賱爻賮賳 丕賱賲賯賵爻丞 賵丕賱賵賯賵毓 賮賷 卮乇賰 兀毓丿丕卅賴賲貙 賱賵賱丕 賷賯馗丞 丕賱孬賳丕卅賷 兀賷丕爻 丕賱匕賷賳 丕爻鬲亘爻賱丕 賱賱丿賮丕毓 毓賳 丕賱爻賮賳 賵丕賱匕賵丿 毓賳 丌禺乇 賲丕 鬲亘賯賶 賲賳 丕賱賲毓賳賵賷丕鬲 賱賱丌禺賷賷賳 丕賱賲鬲賲乇賰夭賷賳 毓賳丿 丕賱爻賮賳貙 賳賯胤丞 丕賱鬲丨賵賱 丨丿孬鬲 毓賳丿賲丕 賴亘 亘丕鬲乇賵賰賱賵爻 賷丨囟 兀禺賷賱賷賵爻 毓賱賶 丕賱賯鬲丕賱 賵賷匕賰乇賴 亘賲丌賱 丕賱丕睾乇賷賯 丕賱匕賷 爻賷賰賵賳 亘卮毓丕賸 毓賱賶 賷丿 丕賱孬丕卅乇賷賳 賲賳 丕賴賱 胤乇賵丕丿丞 賵賲賳 禺賱賮 亘毓囟 丕賱丌賱賴丞 丕賱鬲賷 賰丕賳鬲 鬲乇睾亘 賮賷 爻丨賯 丕賱噩賷卮 丕賱丕睾乇賷賯賷.. 亘丕鬲乇賵賰賱賵爻 丨丕賵賱 丕賳 賷爻賰賳 睾囟亘丞 丕禺賷賱賷賵爻貙 賱賲 賷爻鬲胤賷毓 匕賱賰 丕賱卮賯賷 丕賳 賷賮毓賱 卮賷卅丕賸 爻賵賶 賷鬲丿乇毓 亘丿乇毓 丕禺賷賱賷賵爻 賵賷賵丕噩賴 丨卮賵丿 丕賱胤乇賵丕丿賷賷賳 賵丨丿賴..
賵賱賯丿 毓賱賲 丕禺賷賱賷賵爻 賴賳丕賱賰 賲毓賳賶 丕賱丕賱賲 賲毓賳賶 丕賱睾囟亘 賱兀賵賱 賲乇丞貙 賲毓賳賶 丕賱賮賳丕亍貙 賲毓賳賶 丕賱毓丿賲貙 賲毓賳賶 丕賱禺賵丕亍貙 賲毓賳賶 丕賳 鬲賮賯丿 賰賱 卮卅 賱兀噩賱 賱丕 卮卅.. 賲毓賳賶 兀賳 鬲賰賵賳 賲丨亘胤丕賸 丨鬲賶 賲賳 賳賮爻賰貙 賲賳 賷賯賷賳賰 丕賳賰 賯丿 毓丕賷賳鬲 丕丨夭丕賳 丕賱毓丕賱賲 賮賷 賯賱亘賰貙 丕爻鬲噩賵丕亘 匕乇丕鬲 丕賱丨賯賷賯丞 丕賱禺丕賮鬲丞 丕賱鬲賷 鬲賳丕丿賷 亘賰 廿賱賶 丕賱毓丕賱賲 丕賱賮丕賳賷.. 賱賲 賷賰賳 睾囟亘丕賸 亘賱 丨夭賳丕賸 丿賮賷賳丕賸 賵賰兀賳賴 賰丕賳 賷毓賱賲 兀賳 丕賱丕賷丕賲 鬲禺亘卅賴丕 賱賴 賵賴賵 毓賱賶 兀乇囟 胤乇賵丕丿丞.. 兀禺賷賱賷賵爻 鬲賲夭賯 賴賳丕賰 賵賲夭賯 賲丕丨賵賱賴..
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賴匕賴 丕賱賲賱丨賲丞 兀爻鬲胤賷毓 兀賳 兀賯賵賱 賲賳 兀噩賲賱 賲丕 賯乇兀鬲 賵賲丕 爻兀賯乇兀 丨鬲賶貙 鬲丨賮丞 兀丿亘賷丞 賲匕賴賱丞 丨賯丕賸 賵賴賷 鬲丨賰賷 鬲賱賰 丕賱兀丨丿丕孬 亘氐賵乇丞 賲卮賵賯丞 爻丕丨乇丞 毓氐賷丞 毓賱賶 丕賱丕丿乇丕賰 兀賳賴丕 賰賱賲丕鬲 賲噩乇丿丞 貙賰兀賳賴丕 兀爻鬲禺乇噩鬲 賲賳 亘卅乇 丕賱噩賲丕賱 丕賱賯丕亘毓 賮賷 爻丨乇 賴匕丕 丕賱毓丕賱賲 賰賱賴.. 賲匕賴賱丞 鬲亘賯賶 賴匕賴 丕賱賲賱丨賲丞 賮賷 賲禺賱賷鬲賷 氐毓亘丞 丕賱賳爻賷丕賳 賵丕賱鬲锟斤拷賱賷賮 賲乇丞 兀禺乇賶.... 毓丕胤賮賷 鬲賱賯丕卅賷 睾乇賷亘 爻丕丨乇 亘丕乇毓 .. 賱賷爻鬲 賲噩丕賲賱丞 亘賱 賴賷 丨賯賷賯丞貙 亘賱 賵賯胤乇丞 爻丕賰賳丞 賲賳 亘丨乇 噩賲丕賱 賴匕賴 丕賱乇丕卅毓丞 丕賱丕賳爻丕賳賷丞..
賵兀丿乇賰 鬲賲丕賲丕賸 兀賳 賱賵 丕噩鬲賲毓 賲賲孬賱賵丕 賵賮賳丕賳賵丕 丕賱毓丕賱賲 毓賱賶 兀賳 賷噩爻丿賵丕 賴匕賴 丕賱賲賱丨賲丞 毓賱賶 兀乇囟 丕賱賵丕賯毓 兀賵 賰賱賵丨丞 兀賵 賱賲丕 丕爻鬲胤丕毓賵丕 廿賱賶 匕賱賰 爻亘賷賱丕..
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賲賳 丕賱賲賱丕丨馗 毓丿丿 丕賱卮禺氐賷丕鬲 賮賷 丕賱賲賱丨賲丞 賰亘賷乇 噩丿丕賸 噩丿丕賸 賱丕 賷賲賰賳 丨氐乇賴丕 貙 兀爻賲丕亍 賰孬賷乇丞 賱賲賯丕鬲賱賷賳 賵丌賱賴丞 賵兀亘胤丕賱 賲毓馗賲賴丕 鬲兀鬲賷 賰卮禺氐賷丕鬲 賴丕賲卮賷丞 賱丕 賵夭賳 賱賴丕 賮賷 毓賲賱賷丞 亘賳丕亍 丕賱賲賱丨賲丞 貙廿賳 賴賷 廿賱丕 賲噩乇丿 賵乇賯丞 賷賱賯賷 亘賴丕 賴賵賲賷乇賵爻 賮賷 氐賷丨丞 丕賱丨乇亘 賮兀賲丕 兀賳 鬲鬲毓乇囟 賱賱賯鬲賱 賲亘丕卮乇丞 亘毓丿 匕賰乇賴丕 賵賴賵 睾丕賱亘丕賸 賲丕賷丨丿孬貙 兀賵 兀賳賴丕 鬲鬲毓乇囟 賱賱賳爻賷丕賳 賲賳 賯亘賱 賴賵賲賷乇賵爻 賵賰賲丕 賯丕賱 丕賱賳賯丕丿 " 兀賳 賴賵賲賷乇賵爻 賰丕賳 賷睾賮賵 兀丨賷丕賳丕賸 兀孬賳丕亍 鬲兀賱賷賮賴 賱賱賲賱丨賲丞 " 貙 賵賲賳 丕賱噩丿賷乇 亘丕賱匕賰乇 兀賳 賴賳丕賰 卮禺氐賷丞 鬲毓乇囟鬲 賱賱賯鬲賱 賮賷 亘丿丕賷丞 丕賱賲毓丕乇賰 丕賱鬲賷 兀卮鬲毓賱鬲 亘賷賳 丕賱胤乇賵丕丿賷賷賳 賵丕賱丿丕賳丕卅賷賷賳 孬賲 匕購賰乇 亘毓丿 匕賱賰 賵賴賵 賷賯丕鬲賱 孬丕賳賷丞 賮賷 氐賷丨丞 丕賱丨乇亘 賵賱賱爻賵亍 丨馗賴 賯購鬲賱 賲噩丿丿丕賸 .. 匕賱賰 賲丕 賷囟賮賷 賮賷 乇兀賷賷 噩賵丕賸 賲賳 丕賱亘乇丕亍丞 賵丕賱睾乇丕亘丞 賮賷 丕賱賯氐丞 賵賰兀賳賴丕 鬲噩乇賷 禺丕乇噩 丨丿賵丿 丕賱夭賲賳.. 賵賳氐賷丨丞 賱丕 鬲丨賮馗 廿賱丕 兀爻賲丕亍 丕賱卮禺氐賷丕鬲 丕賱乇卅賷爻賷丞 賮賷 丕賱賲賱丨賲丞 賵廿賱丕 爻賷禺鬲賱胤 毓賱賷賰 丕賱卮禺氐賷丕鬲 賵賷氐賷亘賰 賳賵毓 賲賳 丕賱賲賱賱 鬲噩丕賴 丕賱賰鬲丕亘貙 鬲丕亘毓 丿丕卅賲丕賸 賵賱丕 鬲賴鬲賲貙 噩賲丕賱 丕賱賲賱丨賲丞 賮賷 丕賱丕爻鬲賲乇丕乇賷丞 賵賲賵丕賰亘丞 噩賳賵賳 賵丨丕賱丕鬲 賴匕賷丕賳 賴賵賲賷乇賵爻..
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賷賰賮賷 兀賳 兀賯賵賱 兀賳 丕賱鬲乇噩賲丞 丕賱鬲賷 賯乇兀鬲賴丕 賱丕 鬲賵噩丿 賰賱賲丕鬲 鬲氐賮 賲丿賶 丕鬲爻丕賯賴丕 賵噩賲丕賱賴丕 賵兀亘丿丕毓賴丕 丕賱丕丿亘賷 賵丕賱匕賵賯 丕賱乇丕卅毓 賮賷 廿禺鬲賷丕乇 丕賱賲賮乇丿丕鬲 賵丕賱噩賲賱 賵毓賲賯 丨賯賷賯賷 賮賷 丕賱鬲乇噩賲丞貙 丕賱賲鬲乇噩賲 兀丨賲丿 毓鬲賲丕賳 賵賲毓賴 毓丿丿 賲賳 丕賱賲鬲乇噩賷賳 丕賱丌禺乇賷賳 賯囟賵丕 爻賳賵丕鬲 毓丿丞 賱賷禺乇噩賵丕 亘賴匕賴 丕賱胤賱丞 丕賱亘賴賷丞 丕賱乇丕賯賷丞貙 賲賳 兀噩賲賱 丕賱鬲乇噩賲丕鬲 丕賱鬲賷 賯乇兀鬲賴丕貙 賷爻鬲丨賯 丕賱孬賳丕亍 賵丕賱鬲賯丿賷乇 賵丕賱卮賰乇 賱賴匕丕 丕賱賲噩賴賵丿 丕賱噩亘丕乇 丕賱匕賷 賴賵 亘丕賱賮毓賱 鬲丨賮丞 賱丕 賷賯丿乇賴丕 廿賱丕 兀氐丨丕亘 丕賱匕賵賯 丕賱兀氐賷賱 賮賷 丕賱兀丿亘..
..............
賱賷爻鬲 賲乇丕噩毓丞 賴賷 鬲賱賰 丕賱鬲賷 賰鬲亘鬲賴丕貙 亘賱 賲噩乇丿 禺賵丕胤乇 毓賳 丕賱賰鬲丕亘 乇丕賯 賱賷 兀賳 兀囟賷賮賴丕 賴賳丕..
April 29, 2019
"Did you really LIKE the Iliad, mum?"
My son has just finished reading it, and his question is valid. Do you really LIKE to read line after line of gory murder, repeated endlessly from song to song?
I evaded the question, speaking of fantastic opening lines, of classic art and immense influence on other authors. And then I capitulated - a little:
"The Odyssey is much more interesting as a story!" I said.
"So you didn't like it then?"
"I liked reading it!"
And we agreed that some books just ARE. As a reader, you will want to tackle them at some point, and the rules you apply to more recent works of fiction don't count. You award yourself 5 stars for finishing, for knowing more than you did before starting. But then my son killed the Iliad with a spear as sharp as those of Homeric warriors. He compared it to Greek tragedy. And that is where I stumbled: those ARE too - but I also LIKE reading them. They are thought-provoking, exciting, and classic. Troy's fall from the perspective of Philoctetes is pure literary bliss. The Iliad is not. But it remains...
My son has just finished reading it, and his question is valid. Do you really LIKE to read line after line of gory murder, repeated endlessly from song to song?
I evaded the question, speaking of fantastic opening lines, of classic art and immense influence on other authors. And then I capitulated - a little:
"The Odyssey is much more interesting as a story!" I said.
"So you didn't like it then?"
"I liked reading it!"
And we agreed that some books just ARE. As a reader, you will want to tackle them at some point, and the rules you apply to more recent works of fiction don't count. You award yourself 5 stars for finishing, for knowing more than you did before starting. But then my son killed the Iliad with a spear as sharp as those of Homeric warriors. He compared it to Greek tragedy. And that is where I stumbled: those ARE too - but I also LIKE reading them. They are thought-provoking, exciting, and classic. Troy's fall from the perspective of Philoctetes is pure literary bliss. The Iliad is not. But it remains...
Shelved as 'abandoned'
September 23, 2019Last year I attended a conference where one of the speakers stated that literature starts with Homer. I love to read so I thought that maybe I should see what the fuss is about with the cradle of the written word. I do not like poetry but I said that maybe it is time to learn how to appreciate it. Well, it didn't go well. I appreciate its worth but It was a chore to read and I had to stop after 100 pages or so. No more epic poems for me.
January 25, 2024
The Iliad is an ancient Greek epic poem by Homer, which presents his interpretation of the events that took place during a few weeks of the tenth and final year of the Trojan War. Homer's tale of the Trojan War runs from the time of Achilles's falling out with the Greek King, Lord Agamemnon, and shunning from the war to the time when he re-enters it and kills the Trojan hero, Hector, to avenge the death of his friend and companion, Patroclus.
After my reading of The Odyssey, I felt I need to revisit The Iliad. The thought that I might not have fully appreciated it kept on nagging me. I first read a prose version, but this time I resorted to the poetic translation done by Alexander Pope. And I have to confess that the result was surprising. Not only I understood it well, but I also came to fully appreciate the extent of Homer's artistry. In this new light, I'm obliged to amend my former review to express my truest thoughts on this amazing classic.
In my first read, I've misunderstood the role of Gods. I thought that they dictated and interfered unjustly in the men's war and hindered their valor. But after my reread, I now understand it was fate that governed it all, and that the Gods' role was to facilitate the course of fate. Of course, the Gods supported their chosen camp, some siding with the Greeks, who they believed to have been injured by the treachery of Paris of Troy, and others siding with the Trojans, for their faithful reverence of mighty Olympian Gods. But not any of them, not even the all-powerful Zeus could alter what the fate decreed on the mortal men. When I understood fully the role of God, men, and fate, I was able to view the whole thing through new eyes and appreciate and enjoy the tale for its true worth.
The Iliad is a tragedy. The main themes of this tragic tale are honour, loyalty, glory, and revenge. It was not the pleasantest read. Too much importance is given to the descriptions of gruesome details of war. The dramatic quality with which Homer has knitted his poem made so vivid a portrayal of battle scenes and horrific deaths that I found many passages hard to stomach. At the same time, I couldn't help admiring the ability of Homer to draw such realistic pictures through his finesse writing. And even more, I could sense the fury of men of both camps as they lunged at each other with their weapons drawn; I could hear their war cries. I could also hear the sound of the wheels of the chariots taking the warriors to the battle, the clanging of the weapons, and the groans and moans of the dead. It was truly more than a reading experience.
The narrator of the tale, while taking us through the present events, also fills in the gaps of the past and makes predictions for the future. This method of recounting the story gives a complete picture of the tale, although in the strictest sense the poem only describes a few weeks of the final year of the Trojan War. The writing is quite descriptive. Whether it is a battle scene, weapons, the general setting, or characters (both men and God), nothing has escaped Homer's minutest scrutiny. Even the pedigree of each of the characters is described! Although these details are quite overwhelming at times, they nevertheless are helpful to understand the story better.
It is amazing that how this epic poem, which is said to have written in the 7th or 8th centuries BC (or BCE), has fascinated and keeps on fascinating generations of readers. That in itself is proof of the true mastery of its author. When all things are considered, it is a little wonder that Homer is regarded as the pioneer of the Western Classic.
A word must be said about the translation. Personally, I think it is one of the best. As the translator himself has said, the essence of a translation is to capture the true spirit of the work which he translates without being too much burdened with the strict accuracy of the meaning. When compared with the first translation I've read and my respective response with my present perception, I quite see the wisdom of Pope. It is the spirit that matters.
After my reading of The Odyssey, I felt I need to revisit The Iliad. The thought that I might not have fully appreciated it kept on nagging me. I first read a prose version, but this time I resorted to the poetic translation done by Alexander Pope. And I have to confess that the result was surprising. Not only I understood it well, but I also came to fully appreciate the extent of Homer's artistry. In this new light, I'm obliged to amend my former review to express my truest thoughts on this amazing classic.
In my first read, I've misunderstood the role of Gods. I thought that they dictated and interfered unjustly in the men's war and hindered their valor. But after my reread, I now understand it was fate that governed it all, and that the Gods' role was to facilitate the course of fate. Of course, the Gods supported their chosen camp, some siding with the Greeks, who they believed to have been injured by the treachery of Paris of Troy, and others siding with the Trojans, for their faithful reverence of mighty Olympian Gods. But not any of them, not even the all-powerful Zeus could alter what the fate decreed on the mortal men. When I understood fully the role of God, men, and fate, I was able to view the whole thing through new eyes and appreciate and enjoy the tale for its true worth.
The Iliad is a tragedy. The main themes of this tragic tale are honour, loyalty, glory, and revenge. It was not the pleasantest read. Too much importance is given to the descriptions of gruesome details of war. The dramatic quality with which Homer has knitted his poem made so vivid a portrayal of battle scenes and horrific deaths that I found many passages hard to stomach. At the same time, I couldn't help admiring the ability of Homer to draw such realistic pictures through his finesse writing. And even more, I could sense the fury of men of both camps as they lunged at each other with their weapons drawn; I could hear their war cries. I could also hear the sound of the wheels of the chariots taking the warriors to the battle, the clanging of the weapons, and the groans and moans of the dead. It was truly more than a reading experience.
The narrator of the tale, while taking us through the present events, also fills in the gaps of the past and makes predictions for the future. This method of recounting the story gives a complete picture of the tale, although in the strictest sense the poem only describes a few weeks of the final year of the Trojan War. The writing is quite descriptive. Whether it is a battle scene, weapons, the general setting, or characters (both men and God), nothing has escaped Homer's minutest scrutiny. Even the pedigree of each of the characters is described! Although these details are quite overwhelming at times, they nevertheless are helpful to understand the story better.
It is amazing that how this epic poem, which is said to have written in the 7th or 8th centuries BC (or BCE), has fascinated and keeps on fascinating generations of readers. That in itself is proof of the true mastery of its author. When all things are considered, it is a little wonder that Homer is regarded as the pioneer of the Western Classic.
A word must be said about the translation. Personally, I think it is one of the best. As the translator himself has said, the essence of a translation is to capture the true spirit of the work which he translates without being too much burdened with the strict accuracy of the meaning. When compared with the first translation I've read and my respective response with my present perception, I quite see the wisdom of Pope. It is the spirit that matters.
March 22, 2018
Read as part of my degree and as part of my love of classics, however it didn't compare to The Odyssey which I adored - possibly due to the lack of mythological creatures and rather more battles and lists of ships and names, which made it that much harder to struggle through. Still a great read as one of the original classics but I would choose The Odyssey over the Iliad anytime.
May 22, 2018
This was a terribly hard read for me. I struggled to finish it, but finish it I did. 馃槙
Read
October 17, 2023Reread before I jump into the new translation by , to prepare for my upcoming novel about the messenger goddess, Iris.
May 8, 2022
Magn谩nima obra de Homero que desarrolla, sobre todo, la Guerra de Troya.
Este libro en cuesti贸n est谩 escrito en prosa.
Me cost贸 mucho su lectura ya que hay unas descripciones muy minuciosas de todos los detalles que implica a una guerra y se me hizo bastante pesada.
Tal vez el hecho de estar escrito en prosa me impidi贸 disfrutarlo m谩s.
Eso no significa que sea un libro malo, sino que es una cuesti贸n de sensaciones al t茅rmino de una lectura.
En s铆 misma, esta obra es de una excelencia abrumadora.
Magnanimous work of Homer that develops, especially, the Trojan war.
This book in question is written in prose.
It was difficult to me to read as there are some very detailed descriptions of all the details involved in a war and it was quite heavy.
Perhaps the fact that it was written in prose prevented me from enjoying it more. That doesn't mean it's a bad book, but it's a matter of feelings at the end of a reading.
In itself, this work is of overwhelming excellence.
Este libro en cuesti贸n est谩 escrito en prosa.
Me cost贸 mucho su lectura ya que hay unas descripciones muy minuciosas de todos los detalles que implica a una guerra y se me hizo bastante pesada.
Tal vez el hecho de estar escrito en prosa me impidi贸 disfrutarlo m谩s.
Eso no significa que sea un libro malo, sino que es una cuesti贸n de sensaciones al t茅rmino de una lectura.
En s铆 misma, esta obra es de una excelencia abrumadora.
Magnanimous work of Homer that develops, especially, the Trojan war.
This book in question is written in prose.
It was difficult to me to read as there are some very detailed descriptions of all the details involved in a war and it was quite heavy.
Perhaps the fact that it was written in prose prevented me from enjoying it more. That doesn't mean it's a bad book, but it's a matter of feelings at the end of a reading.
In itself, this work is of overwhelming excellence.
May 6, 2022
鈥漈he true hero, the true subject, the center of the Iliad, is force. Force as man鈥檚 instrument, force as man鈥檚 master, force before which human flesh shrinks back. The human soul, in this poem, is shown always in its relation to force.鈥� - Simone Weil (L鈥橧liade ou le po猫me de la Force)
***SPOILERS AHEAD (If it's possible to spoil arguably the best-known story in history, 3000 years after its creation... You can never be too careful)***
Hear me fellow bookworms, children of Zeus whose shield is thunder, lords of the war cry, noble charioteers, those who are a match for Ares! Readers of words, flippers of pages, inserters of鈥� of bookmarks! For I, breaker of chains, Father of Dragons, straddler of donkeys, purveyor of nonsense; have a few words of laughably little importance to say about this cornerstone of Greek Mythology.
The Iliad was most likely composed somewhere between the late 8th and early 7th centuries BC (725-675 鈥� They lose track of evidence around 700BC). The first known printed version dates back to 1488 meaning it was likely passed on orally and then copied by hand for about 2200 years! Bernard Knox, the man responsible for the introduction in Robert Fagle鈥檚 translation, covers some interesting historical questions about the text. Offering several different standpoints, in a respectably objective manner, Knox discusses opposing views on the original nature of the poem: Was it written or oral? Was Homer illiterate? Was it an individual effort at all or, in fact, the sewing together of many smaller works from different authors into one cohesive whole? Much of the Chinese philosophical texts were believed to have gone through a similar process of compiling and editing over time with the existence of the great Lao Tzu often met with scepticism and the Analects of Confucius of course not being the writings of the man himself but of his pupils. Knox himself draws parallels to other patchwork epics like the Finnish Kalevala and the French medieval epic, La Chanson de Roland.
Readers who are particularly new to classic epic poetry may note (Read: do note; established by reading a number of GR reviews) the long, epic titles at every introduction of an important character (鈥�ornamental epithets鈥�), as in my first paragraph. These are hallmarks of oral epic poetry. The heavy repetition of such epithets, along with repeated analogies (looking at you Lion/Wolf/Defenceless Goatherd) cannot be justly criticised as it was a deliberate mechanism allowing the poet to improvise, with choice of epithet dictated by the meter. Recurring passages gave poets time to focus on the upcoming scene. I鈥檓 unsure whether the quirky 2-line obituaries following even the most irrelevant character鈥檚 deaths can be included here as they tended to be specific to each character. It鈥檚 almost as though it was an attempt to get you to care about a character despite their death being the first time you鈥檇 ever heard of them. I鈥檇 put this down more to the importance placed on lineage than any poetic strategy. In any case, if you compare 鈥楾he Iliad鈥� to something like 鈥楾he Epic of Gilgamesh鈥�, the verbatim repetition is actually not remotely as severe and has a much wider variation.
War, war and more war is what you can expect to find in the pages of the Iliad. At surface level you could be forgiven for thinking it might鈥檝e been written by two brothers, in their early adolescence, trying to outdo each other with the addition of blood, gore and masculine bravado. Characters exchange blustering taunts, the likes of which you鈥檇 find on a football field; 70% of the book is just brothers-in-arms haranguing one another for their perceived cowardice; there are spears penetrating skulls, cut off tongues, disembowelment, it鈥檚 all very OTT and not in the least bit pretty, but then again, neither鈥檚 war!
There are a number of bizarre occurrences and non-sensical events. At one stage, Aeneas and Achilles stop, in the middle of a battlefield, for a prolonged d and m, and a leisurely exchange of life stories. In at least two cases, that of Diomedes/Glaucus and Hector/Ajax, two enemy fighters are set to engage in battle but instead end up discussing each other鈥檚 lineages, exchanging gifts and agreeing to a pact of friendship! I was left thinking, 鈥淚 don鈥檛 wanna spoil this lovely moment guys, but your respective comrades are literally tearing each other to pieces all around you!!鈥�
Equally, the idea that Menelaus and Paris could鈥檝e settled the dispute between themselves is absurd. The Achaeans and their allies travelled 10 years to get to Troy! Regardless of the result of one-on-one combat, they鈥檙e not exactly just going to turn around and go home are they! It鈥檚 kind of a 鈥淲ell, we鈥檙e here now so may as well sack the city!鈥� type scenario.
Peculiarities aside, The Iliad hits a sound note with its contrast between reality (the ugly brutality of war) and delusion (the glorification of war) . Courage and Bravery are most coveted traits by Achaeans and Trojans alike (how easily stupidity and recklessness can be misinterpreted) and its through brave acts and courageous deeds that heroes are born, a God鈥檚 favour is found, and names are written into the history books. This foolish glorification of War, however, is at odds with the ugly narrative of the Trojan War in which men can often seem inherently cowardly and Gods pull all the strings. We鈥檙e led to question whether supposed 鈥渉eroes鈥� are ever acting of their own free will or if their courage and power (force) is all just a matter of divine intervention; Zeus and his dysfunctional family playing just another trivial game of 鈥楻isk 鈥� Trojan War Edition鈥�. Homer鈥檚 opinion seems clear, we鈥檙e all most certainly subject to the whims of the Gods/the Forces at play. Any individual excellence is stripped from men as the God鈥檚 bless who they will with skill and strength, those they have fathered/mothered, those that offer the largest and most prolific sacrifices in their names, those they pity; while condemning those that have slighted them, however mildly, or perhaps those who remind them of their own partner鈥檚 infidelity (*cough* Hera).
In the end, I think Hector is the greatest example of the role the Gods play in Homer鈥檚 Iliad. The 鈥渂ravest鈥� of the Trojans by far throughout the poem, the breaker of horses, dripping head to toe in glory, an unstoppable force with Gods always at his side, whispering words of encouragement; but in the end, when all the Gods, even Zeus, are nowhere to be found and he must stand to face the mighty Achilles man-to-man, mano-a-mano, he loses his nerve (the nerve clearly instilled by the Gods) and runs for his life, 3 times around Priam鈥檚 walls!
鈥滿y son stood and fought for the men of troy and their deep-breasted wives with never a thought of flight or run for cover.鈥� - Hecuba
鈥�.Um? Yeah, ok鈥�
One last point I鈥檇 like to touch on is the Friends/Lovers 鈥渃ontroversy鈥� regarding Achilles and Patroclus. I don鈥檛 feel particularly strongly about it either way but having now completed it and read reviews of both 鈥楾he Iliad鈥� and 鈥楾he Song of Achilles鈥� I鈥檓 a bit taken back by some of the aggressive reactions towards any adaptation of the Iliad, screen or print, that portray them as heterosexual. I鈥檓 left scratching my head and wondering, seeing as the heavily opinionated reviews are for 鈥楾he Song of Achilles鈥�, how many of these people have actually read 鈥楾he Iliad鈥� and how many just enjoy getting on board the outrage train! I just really dislike this modern pandemic that is false public displays of self-righteousness by uninformed people! The irony of that is that I may be historically uninformed myself however, to me, there is nothing in this text that suggests, unequivocally, that they are in a romantic relationship. It is most definitely open to that interpretation, and I welcome it (I look forward to reading TSOA myself), but could we perhaps not unjustly (in my opinion) villainise those who don鈥檛 interpret it the same way?
In closing, I very much enjoyed my reading of this seminal classic; it took me a while to get through but that鈥檚 nothing to do with the quality of the text (even if it was, who am I to say?), but more to do with a little baby girl suddenly appearing in my house! Hoping to get through, at the very least, 鈥楾he Odyssey鈥�, 鈥楾he Homeric Hymns鈥� and 鈥楬esiod鈥檚 Theogony鈥� in 2022 and then I鈥檒l take it from there. Happy reading!
鈥滾ike the generations of leaves, the lives of mortal men.
Now the wind scatters the old leaves across the earth,
Now the living timber bursts with the new buds
And spring comes round again. And so with men:
As one generation comes to life, another dies away.鈥�
***SPOILERS AHEAD (If it's possible to spoil arguably the best-known story in history, 3000 years after its creation... You can never be too careful)***
Hear me fellow bookworms, children of Zeus whose shield is thunder, lords of the war cry, noble charioteers, those who are a match for Ares! Readers of words, flippers of pages, inserters of鈥� of bookmarks! For I, breaker of chains, Father of Dragons, straddler of donkeys, purveyor of nonsense; have a few words of laughably little importance to say about this cornerstone of Greek Mythology.
The Iliad was most likely composed somewhere between the late 8th and early 7th centuries BC (725-675 鈥� They lose track of evidence around 700BC). The first known printed version dates back to 1488 meaning it was likely passed on orally and then copied by hand for about 2200 years! Bernard Knox, the man responsible for the introduction in Robert Fagle鈥檚 translation, covers some interesting historical questions about the text. Offering several different standpoints, in a respectably objective manner, Knox discusses opposing views on the original nature of the poem: Was it written or oral? Was Homer illiterate? Was it an individual effort at all or, in fact, the sewing together of many smaller works from different authors into one cohesive whole? Much of the Chinese philosophical texts were believed to have gone through a similar process of compiling and editing over time with the existence of the great Lao Tzu often met with scepticism and the Analects of Confucius of course not being the writings of the man himself but of his pupils. Knox himself draws parallels to other patchwork epics like the Finnish Kalevala and the French medieval epic, La Chanson de Roland.
Readers who are particularly new to classic epic poetry may note (Read: do note; established by reading a number of GR reviews) the long, epic titles at every introduction of an important character (鈥�ornamental epithets鈥�), as in my first paragraph. These are hallmarks of oral epic poetry. The heavy repetition of such epithets, along with repeated analogies (looking at you Lion/Wolf/Defenceless Goatherd) cannot be justly criticised as it was a deliberate mechanism allowing the poet to improvise, with choice of epithet dictated by the meter. Recurring passages gave poets time to focus on the upcoming scene. I鈥檓 unsure whether the quirky 2-line obituaries following even the most irrelevant character鈥檚 deaths can be included here as they tended to be specific to each character. It鈥檚 almost as though it was an attempt to get you to care about a character despite their death being the first time you鈥檇 ever heard of them. I鈥檇 put this down more to the importance placed on lineage than any poetic strategy. In any case, if you compare 鈥楾he Iliad鈥� to something like 鈥楾he Epic of Gilgamesh鈥�, the verbatim repetition is actually not remotely as severe and has a much wider variation.
War, war and more war is what you can expect to find in the pages of the Iliad. At surface level you could be forgiven for thinking it might鈥檝e been written by two brothers, in their early adolescence, trying to outdo each other with the addition of blood, gore and masculine bravado. Characters exchange blustering taunts, the likes of which you鈥檇 find on a football field; 70% of the book is just brothers-in-arms haranguing one another for their perceived cowardice; there are spears penetrating skulls, cut off tongues, disembowelment, it鈥檚 all very OTT and not in the least bit pretty, but then again, neither鈥檚 war!
There are a number of bizarre occurrences and non-sensical events. At one stage, Aeneas and Achilles stop, in the middle of a battlefield, for a prolonged d and m, and a leisurely exchange of life stories. In at least two cases, that of Diomedes/Glaucus and Hector/Ajax, two enemy fighters are set to engage in battle but instead end up discussing each other鈥檚 lineages, exchanging gifts and agreeing to a pact of friendship! I was left thinking, 鈥淚 don鈥檛 wanna spoil this lovely moment guys, but your respective comrades are literally tearing each other to pieces all around you!!鈥�
Equally, the idea that Menelaus and Paris could鈥檝e settled the dispute between themselves is absurd. The Achaeans and their allies travelled 10 years to get to Troy! Regardless of the result of one-on-one combat, they鈥檙e not exactly just going to turn around and go home are they! It鈥檚 kind of a 鈥淲ell, we鈥檙e here now so may as well sack the city!鈥� type scenario.
Peculiarities aside, The Iliad hits a sound note with its contrast between reality (the ugly brutality of war) and delusion (the glorification of war) . Courage and Bravery are most coveted traits by Achaeans and Trojans alike (how easily stupidity and recklessness can be misinterpreted) and its through brave acts and courageous deeds that heroes are born, a God鈥檚 favour is found, and names are written into the history books. This foolish glorification of War, however, is at odds with the ugly narrative of the Trojan War in which men can often seem inherently cowardly and Gods pull all the strings. We鈥檙e led to question whether supposed 鈥渉eroes鈥� are ever acting of their own free will or if their courage and power (force) is all just a matter of divine intervention; Zeus and his dysfunctional family playing just another trivial game of 鈥楻isk 鈥� Trojan War Edition鈥�. Homer鈥檚 opinion seems clear, we鈥檙e all most certainly subject to the whims of the Gods/the Forces at play. Any individual excellence is stripped from men as the God鈥檚 bless who they will with skill and strength, those they have fathered/mothered, those that offer the largest and most prolific sacrifices in their names, those they pity; while condemning those that have slighted them, however mildly, or perhaps those who remind them of their own partner鈥檚 infidelity (*cough* Hera).
In the end, I think Hector is the greatest example of the role the Gods play in Homer鈥檚 Iliad. The 鈥渂ravest鈥� of the Trojans by far throughout the poem, the breaker of horses, dripping head to toe in glory, an unstoppable force with Gods always at his side, whispering words of encouragement; but in the end, when all the Gods, even Zeus, are nowhere to be found and he must stand to face the mighty Achilles man-to-man, mano-a-mano, he loses his nerve (the nerve clearly instilled by the Gods) and runs for his life, 3 times around Priam鈥檚 walls!
鈥滿y son stood and fought for the men of troy and their deep-breasted wives with never a thought of flight or run for cover.鈥� - Hecuba
鈥�.Um? Yeah, ok鈥�
One last point I鈥檇 like to touch on is the Friends/Lovers 鈥渃ontroversy鈥� regarding Achilles and Patroclus. I don鈥檛 feel particularly strongly about it either way but having now completed it and read reviews of both 鈥楾he Iliad鈥� and 鈥楾he Song of Achilles鈥� I鈥檓 a bit taken back by some of the aggressive reactions towards any adaptation of the Iliad, screen or print, that portray them as heterosexual. I鈥檓 left scratching my head and wondering, seeing as the heavily opinionated reviews are for 鈥楾he Song of Achilles鈥�, how many of these people have actually read 鈥楾he Iliad鈥� and how many just enjoy getting on board the outrage train! I just really dislike this modern pandemic that is false public displays of self-righteousness by uninformed people! The irony of that is that I may be historically uninformed myself however, to me, there is nothing in this text that suggests, unequivocally, that they are in a romantic relationship. It is most definitely open to that interpretation, and I welcome it (I look forward to reading TSOA myself), but could we perhaps not unjustly (in my opinion) villainise those who don鈥檛 interpret it the same way?
In closing, I very much enjoyed my reading of this seminal classic; it took me a while to get through but that鈥檚 nothing to do with the quality of the text (even if it was, who am I to say?), but more to do with a little baby girl suddenly appearing in my house! Hoping to get through, at the very least, 鈥楾he Odyssey鈥�, 鈥楾he Homeric Hymns鈥� and 鈥楬esiod鈥檚 Theogony鈥� in 2022 and then I鈥檒l take it from there. Happy reading!
鈥滾ike the generations of leaves, the lives of mortal men.
Now the wind scatters the old leaves across the earth,
Now the living timber bursts with the new buds
And spring comes round again. And so with men:
As one generation comes to life, another dies away.鈥�
April 18, 2024
禺賵丕賳丿賳 丕蹖賱蹖丕丿 賵乇賵丿 賲賳 亘賴 丿賳蹖丕蹖蹖 亘賵丿 讴賴 賴蹖趩鈥屭嗃屫� 丕夭卮 賳賲蹖鈥屫堎嗀池� 賵 乇丕爻鬲卮 賴賲蹖卮賴 賮讴乇 賲蹖鈥屭┴必� 讴賴 毓賱丕賯賴鈥屫й� 賴賲 亘賴卮 賳丿丕乇賲. 丕賲丕 鬲氐賲蹖賲 亘乇丕蹖 爻乇讴鈥� 讴卮蹖丿賳 亘賴 丕蹖賳 丿賳蹖丕 鬲亘丿蹖賱 亘賴 蹖讴 爻賮乇 胤賵賱丕賳蹖 卮丿. 賲賳 賳賲蹖鈥屫堎嗁� 亘乇丕蹖 讴鬲丕亘蹖 賲孬賱 丕蹖賱蹖丕丿 賳賯丿 亘賳賵蹖爻賲貙 倬爻 丕賵賱 賲蹖诏賲 讴賴 丕乇夭卮 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 賯丿蹖賲蹖 亘賴 賳馗乇 賲賳 趩蹖賴. 亘毓丿 鬲賲丕賲 賲賳丕亘毓蹖 讴賴 禺賵賳丿賲 乇賵 亘丕 賴賲 賲賯丕蹖爻賴 賲蹖鈥屭┵嗁� 賵 蹖讴 賲爻蹖乇 亘乇丕蹖 賵乇賵丿 乇丕丨鬲鈥屫� 亘賴 丕蹖賳 丿賳蹖丕蹖 亘蹖鈥� 爻乇 賵 鬲賴 倬蹖卮賳賴丕丿 賲蹖丿賲
丕乇夭卮 禺賵丕賳丿賳 讴鬲丕亘 爻賴 賴夭丕乇 爻丕賱賴鈥屸€屫й� 讴賴 亘蹖卮鬲乇卮 鬲賵氐蹖賮 噩賳诏 賵 禺卮賵賳鬲賴 趩蹖賴責
蹖讴. 丕噩丕夭賴 賲蹖丿賴 亘賴 诏匕卮鬲賴 賳诏丕賴 讴賳蹖
亘丕 賵噩賵丿 丕蹖賳讴賴 丕爻胤賵乇賴 讴鬲丕亘 鬲丕乇蹖禺 賳蹖爻鬲貙 賴賲趩賳丕賳 賲賳毓讴爻鈥屭┵嗁嗀団€屰� 亘丕賵乇賴丕貙 爻賳鬲鈥屬囏ж� 丌乇夭賵賴丕 賵 卮蹖賵賴鈥屰� 夭賳丿诏蹖 丿乇 夭賲丕賳蹖賴 讴賴 亘賴卮 鬲毓賱賯 丿丕乇賴
丿賵. 賲鬲賵丕囟毓 賲蹖卮蹖
賲丕 丕賳爻丕賳鈥屬囏й� 賯乇賳 亘蹖爻鬲 賵 蹖讴賲蹖 亘丕 鬲讴賳賵賱賵跇蹖 賵 丕毓鬲賯丕丿丕鬲 賲丿乇賳賲賵賳 丕氐賵賱丕賸 賮讴乇 賲蹖鈥屭┵嗃屬� 讴賴 鬲丕賮鬲賴鈥屸€屰� 噩丿丕 亘丕賮鬲賴鈥屫й� 賴爻鬲蹖賲 賵 丕賳爻丕賳鈥屬囏й� 诏匕卮鬲賴鈥� 乇賵 毓賯亘鈥屬呚з嗀� 賵 賲鬲賮丕賵鬲 丕夭 禺賵丿賲賵賳 鬲氐賵乇 賲蹖鈥屭┵嗃屬�. 丕賲丕 賵賯鬲蹖 丕蹖賱蹖丕丿 賲蹖鈥屫堎嗃屫� 賲蹖鈥屫ㄛ屬嗃� 讴賴 賲乇丿賴丕 爻賴 賴夭丕乇 爻丕賱 倬蹖卮 賴賲 爻乇 夭賳鈥屬囏� 亘丕 賴賲 丿毓賵丕 賲蹖鈥屭┴必嗀� 賵 丌丿賲鈥屬囏� 丿乇爻鬲 賲孬賱 賲丕 禺卮賲貙 睾賲貙 丿乇賲丕賳丿诏蹖貙 賴賵爻 賵 卮毓賮 乇賵 亘賴 丿賱丕蹖賱蹖 亘爻蹖丕乇 賲卮丕亘賴 賲丕 鬲噩乇亘賴 賲蹖鈥屭┴必嗀�. 丕蹖賳噩丕 賲鬲賵噩賴 賲蹖卮蹖 讴賴 鬲賵 丕賵賳賯丿乇賴丕 賴賲 賲鬲賮丕賵鬲 賳蹖爻鬲蹖鈥�. 丕夭 胤乇賮蹖 丕蹖賳 亘賴 丕蹖賳 賲毓賳蹖賴 讴賴 毓賯丕蹖丿 鬲賵 賴賲 乇賵夭蹖 賲賲讴賳賴 賴賲蹖賳賯丿乇 賲爻禺乇賴 亘賴 賳馗乇 亘蹖丕丿 讴賴 丕毓鬲賯丕丿 蹖賵賳丕賳蹖丕賳 亘賴 禺丿丕蹖丕賳 丕賳鬲賯丕賲鈥屫� 賵 賴賵爻鈥屫ㄘж藏促堎� 毓噩蹖亘 亘賴 賳馗乇 賲蹖丕丿
爻賴. 鬲睾蹖蹖乇 乇賵 丨爻 賲蹖鈥屭┵嗃�
倬蹖賳讴乇貙 丕夭 丿丕賳卮賲賳丿丕賳 夭賲丕賳 賲丕貙 賲毓鬲賯丿賴 讴賴 禺卮賵賳鬲 毓賲賵賲丕賸 讴丕賴卮 倬蹖丿丕 讴乇丿賴 賵 丿賳蹖丕 賳爻亘鬲 亘賴 诏匕卮鬲賴 噩丕蹖 亘賴鬲乇蹖 亘乇丕蹖 夭賳丿诏蹖賴. 丕蹖賳 丕賱亘鬲賴 趩蹖夭蹖賴 丕禺亘丕乇 賵 卮亘讴賴鈥屬囏й� 丕噩鬲賲丕毓蹖 亘乇毓讴爻卮鈥� 乇賵 亘乇丕蹖 賲丕 鬲丿丕毓蹖 賲蹖鈥屭┵嗁嗀�. 丕蹖賱蹖丕丿 丕夭 丿賳蹖丕蹖蹖 賲蹖鈥屭� 讴賴 睾乇賯 丿乇 噩賳诏鈥屬囏й� 胤賵賱丕賳蹖賴 賵 賴賲賴 趩蹖夭 亘丕 噩賳诏 賲毓賳蹖 倬蹖丿丕 賲蹖鈥屭┵嗁�. 丨鬲蹖 丕賳爻丕賳蹖鬲 賵 卮乇賮. 趩蹖夭蹖 讴賴 亘丕 鬲賮讴乇丕鬲 (丕讴孬乇) 賲丕 丿乇 賲賵乇丿 禺卮賵賳鬲 丿蹖诏賴 噩賵乇 丿乇 賳賲蹖丕丿. 丿乇 賲賵乇丿 鬲睾蹖蹖乇 鬲賮讴乇丕鬲 丿乇 賲賵乇丿 亘乇丿賴鈥屫ж臂� 賵 丨賯賵賯 夭賳丕賳 賴賲 讴賴 賱丕夭賲 賳蹖爻鬲 鬲賵囟蹖丨蹖 亘丿賲. 丕蹖賳 賳卮賵賳 賲蹖丿賴 讴賴 亘卮乇蹖鬲 趩賴 乇丕賴 胤賵賱丕賳蹖鈥屫й� 丕賵賲丿賴 賵 丕蹖賳 賲蹖鈥屫堎嗁� 亘丕乇賯賴鈥屰� 賳賵乇蹖 丿乇 丿賳蹖丕蹖蹖 亘丕卮賴 讴賴 禺蹖賱蹖 鬲丕乇蹖讴 亘賴 賳馗乇 賲蹖丕丿
趩賴丕乇. 亘賴鬲 禺賵卮 賲蹖鈥屭柏辟�
噩丿丕蹖 氐丨賳賴鈥屬囏й� 胤賵賱丕賳蹖 噩賳诏 賵 讴卮鬲 賵 讴卮鬲丕乇 讴賴 賲睾夭鬲 乇賵 爻賽乇 賲蹖鈥屭┵嗁囏� 丿丕爻鬲丕賳 賵丕賯毓丕賸 噩丕賱亘賴 賵 亘丕賱丕 賵 倬丕蹖蹖賳鈥� 夭蹖丕丿 丿丕乇賴. 乇丕亘胤賴鈥屰� 亘蹖賳 禺丿丕蹖丕賳 賵 丕賳爻丕賳鈥屬囏� 賵 丿乇丕賲丕賴丕蹖 亘蹖賳卮賵賳 賵丕賯毓丕賸 禺賵丕賳丿賳蹖賴
倬賳噩. 乇賮乇賳爻鈥屬囏� 乇賵 賲鬲賵噩賴 賲蹖卮蹖
丕蹖賳 讴鬲丕亘 丕夭 賯丿蹖賲蹖鈥屫臂屬� 讴鬲丕亘鈥屬囏й屰屬� 讴賴 亘乇丕蹖 賲丕 賲賵賳丿賴 賵 鬲賵爻胤 丕賮乇丕丿 夭蹖丕丿蹖 賴賲 禺賵賳丿賴 卮丿賴. 倬爻 胤亘蹖毓鬲丕賸 丕乇噩丕毓丕鬲 夭蹖丕丿蹖 亘賴卮 丿乇 丕丿亘蹖丕鬲 賵 丨鬲蹖 讴鬲丕亘鈥屬囏й� 賳丕丿丕爻鬲丕賳 丿丕丿賴 賲蹖卮賴. 丿賵賳爻鬲賳 丿丕爻鬲丕賳 賲孬賱 亘丕夭 讴乇丿賳 賯賮賱 丕蹖賳 鬲卮亘蹖賴鈥屬囏ж池�
趩胤賵乇蹖 亘禺賵賳蹖賲卮責
賲賳 丨丿賵丿 鄹 讴鬲丕亘 賲乇鬲亘胤 亘丕賴丕卮 乇賵 丿乇 丕蹖賳 賲丿鬲 禺賵賳丿賲 賵 丕蹖賳噩丕 賲蹖鈥屫堌з� 讴鬲丕亘鈥屬囏� 乇賵 賲賯丕蹖爻賴 讴賳賲
亘賴鬲乇蹖賳 鬲乇噩賲賴 趩蹖賴責
丕蹖賳 禺蹖賱蹖 爻賱蹖賯賴鈥屫й屬� 讴賴 亘蹖賳 鬲乇噩賲賴鈥屬囏й� 丕賳诏賱蹖爻蹖 讴丿賵賲 乇賵 丕賳鬲禺丕亘 讴賳蹖丿. 賲賳 丕賲蹖賱蹖 賵蹖賱爻賵賳 乇賵 丕賳鬲禺丕亘 讴乇丿賲 趩賵賳 噩丿蹖丿鬲乇蹖賳 賵 亘賴 胤亘毓 爻丕丿賴鈥屫臂屬� 亘乇丕蹖 禺賵賳丿賳 亘賵丿鈥� 賵 丕噩乇丕蹖 氐賵鬲蹖 毓丕賱蹖鈥屫й� 賴賲 丿丕卮鬲. 丕賲丕 禺亘 丿乇 賲賯丕蹖爻賴 亘丕 鬲乇噩賲賴鈥屬囏й� 丿蹖诏賴 賲毓賱賵賲 亘賵丿 讴賴 亘毓囟蹖鈥屬囏ж促堎� (賲孬賱 鬲乇噩賲賴鈥屰� 倬購倬) 賳孬乇 賲賵夭賵賳鈥屫必� 夭蹖亘丕鬲乇 賵 丕賱亘鬲賴 爻禺鬲鈥屫堌з嗏€屫臂� 丿丕卮鬲賳丿
丕夭 讴噩丕 卮乇賵毓 讴賳賲責
Greek Myths
丕蹖賱蹖丕丿 倬乇 丕夭 丕爻丕賲蹖 禺丿丕蹖丕賳 賵 賯賴乇賲丕賳丕賳賴 賵 卮賳丕禺鬲賳卮賵賳 賵 倬蹖丿丕 讴乇丿賳 乇賵丕亘胤 亘蹖賳卮賵賳 亘賴 賮賴賲蹖丿賳 丿丕爻鬲丕賳 禺蹖賱蹖 讴賲讴 賲蹖鈥屭┵嗁�. 丕蹖賳 讴鬲丕亘 夭蹖亘丕 賴賲賴 丕蹖賳鈥屬囏� 乇賵 亘賴 爻丕丿賴鈥屫臂屬� 卮讴賱 賲賲讴賳 亘丕 鬲氐賵蹖乇诏乇蹖鈥屸€屬囏й� 毓丕賱蹖 鬲賵囟蹖丨 賲蹖丿賴 賵 鬲丕夭賴 禺賱丕氐賴鈥屰� 丿丕爻鬲丕賳 丕蹖賱蹖丕丿 乇賵 賴賲 丿丕乇賴
禺賱丕氐賴鈥屰� 爻乇賵丿賴丕 賵 鬲丨賱蹖賱鈥屬囏ж促堎� 乇賵 丕夭 讴噩丕 亘禺賵賳賲責
亘蹖賳 丕蹖賳 趩賴丕乇 讴鬲丕亘 鬲丨賱蹖賱蹖鈥屫й� 讴賴 禺賵賳丿賲 亘賴 賳馗乇 賲賳 讴蹖賱蹖賮爻 賳賵鬲爻 丕夭 賴賲賴 亘賴鬲乇 亘賵丿. 丕賲丕 賲夭丕蹖丕 賵 賲毓丕蹖亘 賴乇 讴鬲丕亘 乇賵 賱蹖爻鬲 賲蹖鈥屭┵嗁�
Cliffsnotes
丿丕卮鬲賳 賱蹖爻鬲 讴丕乇丕讴鬲乇 賵 賳賯卮賴鈥屰� 乇賵丕亘胤卮賵賳
鬲賵囟蹖丨丕鬲 丿乇 賲賵乇丿 鬲丕乇蹖禺 讴鬲丕亘 賵 卮丕毓乇卮
禺賱丕氐賴鈥屬囏й� 讴丕賲賱鈥屫� 賵 噩丿丕诏丕賳賴
鬲丨賱蹖賱鈥屬囏й� 胤賵賱丕賳蹖鈥屫必� 丿賯蹖賯鈥屫� 賵 噩丿丕诏丕賳賴
亘禺卮 丌賳丕賱蹖夭 讴丕乇丕讴鬲乇
爻賴 賲賯丕賱賴 丿乇 丕賳鬲賴丕 讴賴 丿乇 丨丿 賲鬲賵爻胤 亘賵丿賳丿
SparkNotes Literature Guides
賱蹖爻鬲 讴丕乇丕讴鬲乇 丿賯蹖賯鈥屫� 賵 亘丕 噩夭卅蹖丕鬲 亘蹖卮鬲乇
鬲賵囟蹖丨丕鬲 鬲賽賲貙 賲賵鬲蹖賮 賵 爻賲亘賱鈥屬囏� 讴賴 亘賴 丕蹖賳 卮讴賱 噩丕蹖 丿蹖诏賴鈥屫й� 賳亘賵丿
禺賱丕氐賴鈥屬囏й� 賲禺鬲氐乇 賵 賲賮蹖丿 ( 賲毓賲賵賱丕賸 趩賳丿 爻乇賵丿 亘丕 賴賲 蹖讴蹖 卮丿賴)
鬲丨賱蹖賱鈥屬囏й� 讴賵鬲丕賴貙 诏丕賴蹖 亘丕 賳讴丕鬲 賲鬲賮丕賵鬲 (賲毓賲賵賱丕賸 趩賳丿 爻乇賵丿 亘丕 賴賲 蹖讴蹖 卮丿賴)
鈥孊loom's Guide
鬲賵囟蹖丨 丿乇亘丕乇賴鈥屰� 鬲丕乇蹖禺 讴鬲丕亘
禺賱丕氐賴 賵 鬲丨賱蹖賱 讴賳丕乇 賴賲 丿乇 蹖讴 賲鬲賳 胤賵賱丕賳蹖 讴賴 爻乇賵丿 乇賵 匕讴乇 賲蹖鈥屭┵嗁� 丕賲丕 噩夭卅蹖丕鬲蹖 賳丿丕乇賴
讴賵鬲丕賴鈥屫臂屬� 禺賱丕氐賴 賵 鬲丨賱蹖賱
倬丕賳夭丿賴 賲賯丕賱賴鈥屰� 鬲丨賱蹖賱蹖 亘賴 賳爻亘鬲 讴賵鬲丕賴 讴賴 亘毓囟蹖鈥屬囏ж促堎� 賵丕賯毓丕 噩丕賱亘賳 賵 噩賵丕賳亘 禺丕氐蹖 丕夭 丿丕爻鬲丕賳 乇賵 亘乇乇爻蹖 賲蹖鈥屭┵嗁嗀�
鈥孊loom's Modern Critical interpretations
賲噩賲賵毓賴鈥屫й� 丕夭 丿賴 賲賯丕賱賴鈥屰� 胤賵賱丕賳蹖 讴賴 亘蹖賳卮賵賳 賴賲 毓丕賱蹖 賴爻鬲貙 賴賲 賮賵賯鈥屫з勜关ж団€� 亘蹖鈥屬呚官嗃� 賵 丨賵氐賱賴 爻乇亘乇
丕诏乇 亘禺賵丕賲 賴賲賴鈥屰� 丕蹖賳 鬲丨賱蹖賱鈥屬囏� 乇賵鈥� 賳禺賵賳賲 賵 亘卮蹖賳賲 蹖讴蹖 亘乇丕賲 賲賴賲鈥屫臂屬嗏€屬囏ж� 乇賵 鬲賵囟蹖丨 亘丿賴 趩蹖責
鈥孴he Iliad of Homer
氐丿 丿乇 氐丿 丿賵乇賴鈥屰� 丕蹖賱蹖丕丿 诏乇蹖鬲 讴賵乇爻夭. 亘丕 禺蹖丕賱 乇丕丨鬲 爻乇 讴賱丕爻 蹖讴 丕爻鬲丕丿 賵丕乇丿 賲蹖鈥屫篡屬嗃� 賵 亘賴 诏賱趩蹖賳 鬲丨賱蹖賱鈥屬囏� 诏賵卮 賲蹖鈥屭┵嗃�
丕诏乇 亘禺賵丕賲 讴賱 丿丕爻鬲丕賳 噩賳诏鈥� 鬲乇賵蹖 乇賵鈥� 亘丿賵賳賲 趩蹖責
鈥孴roy: The Greek Myths Reimagined
丕蹖賱蹖丕丿 丿丕爻鬲丕賳 亘禺卮 讴賵鬲丕賴蹖 丕夭 噩賳诏賴 賵 賳賴 丿賱蹖賱 卮乇賵毓 噩賳诏 乇賵 鬲賵囟蹖丨 賲蹖丿賴貙 賳賴 賲蹖诏賴 丿乇 丌禺乇 趩蹖鈥� 賲蹖卮賴. 亘乇丕蹖 丕蹖賳 亘丕蹖丿 鬲讴賴鈥屬囏й� 倬丕夭賱 乇賵 丕夭 丌孬丕乇 丿蹖诏賴 噩賲毓 讴乇丿 讴賴 丕爻鬲賮賳 賮乇丕蹖 丿乇 讴鬲丕亘 鬲乇賵蹖 夭丨賲鬲卮 乇賵 讴卮蹖丿賴. 賮乇丕蹖 丕夭 丕賵賱賽 丕賵賱貙 丕夭 鬲賵賱丿 倬丿乇丕賳 賯賴乇賲丕賳丕賳 讴鬲丕亘貙 丿丕爻鬲丕賳 乇賵 亘丕 賳賴丕蹖鬲 噩匕丕亘蹖鬲 鬲毓乇蹖賮 賲蹖鈥屭┵嗁� 賵 亘丕 倬丕蹖丕賳 噩賳诏 鬲賲賵賲卮 賲蹖鈥屭┵嗁�. 丕蹖賳 锟斤拷鬲丕亘 乇賵 賲蹖卮賴 賯亘賱 丕夭 丕蹖賱蹖丕丿 賴賲 禺賵賳丿 讴賴 賴賲賴鈥屰� 丿丕爻鬲丕賳 乇賵 亘丿賵賳蹖 賵 亘毓丿 亘賴 爻乇丕睾 丕蹖賱蹖丕丿 亘蹖丕蹖
鬲氐賵蹖乇蹖 趩蹖責
鈥孧arvel Illustrated: The Iliad
賲噩賲賵毓賴鈥屰屸€� 讴賲蹖讴 賲丕乇賵賱 亘賴 賳爻亘鬲 禺賵亘賴鈥�. 鬲氐賵蹖乇诏乇蹖 賲毓賲賵賱蹖鈥屫й� 丿丕乇賴 賵賱蹖 亘賴 丿丕爻鬲丕賳 賵賮丕丿丕乇賴. 賲蹖卮賴 賯亘賱 讴鬲丕亘 禺賵賳丿卮 賵 亘丕 丿丕爻鬲丕賳 丌卮賳丕 卮丿. 賲蹖卮賴 賴賲乇丕賴卮 禺賵賳丿 讴賴 賲乇賵乇蹖 亘卮賴 賵 亘蹖卮鬲乇 丕夭 卮禺氐蹖鬲鈥屬囏� 爻乇 丿乇丌賵乇丿
氐賵鬲蹖 趩蹖責
賲賳 賳爻禺賴鈥屰� 噩丿蹖丿鬲乇 丌丿蹖亘賱 乇賵 诏賵卮 丿丕丿賲 讴賴 丕夭 乇賵蹖 鬲乇噩賲賴鈥屰� 丕賲蹖賱蹖 賵蹖賱爻賵賳 丕噩乇丕 卮丿賴. 亘丕蹖丿 亘诏賲 讴賴 蹖讴蹖 丕夭 丿賱丕蹖賱 賱匕鬲 亘乇丿賳 丕夭 讴鬲丕亘 賴賲蹖賳 亘賵丿. 噩賲賱丕鬲 鬲賵 匕賴賳 禺賵丿賲 禺蹖賱蹖 亘蹖鈥屫ж池ж� 賵 乇亘丕鬲蹖 亘賵丿賳丿. 丕賲丕 賵賯鬲蹖 讴鬲丕亘 乇賵 賴賲夭賲丕賳 禺賵賳丿賲 賵 诏賵卮 丿丕丿賲貙 丕噩乇丕蹖 丨賲丕爻蹖 丕蹖賳 賳爻禺賴 禺蹖賱蹖 讴蹖賮蹖鬲 賲胤丕賱毓賴鈥屬� 乇賵 亘丕賱丕 亘乇丿
Pro tip:
禺賵丿鬲賵賳 乇賵 賵丕乇丿 诏乇賵賴蹖 丕夭 讴鬲丕亘 禺賵賳鈥屬囏й� 丨爻丕亘蹖 亘讴賳蹖丿 讴賴 禺蹖賱蹖 亘蹖卮鬲乇 丕夭鬲賵賳 賲蹖鈥屫堎嗁嗀� 丨賵氐賱賴鈥屰� 氐丨亘鬲 讴乇丿賳 丿丕乇賳丿 賵 亘蹖鈥屫臂屫� 亘賴 丕卮鬲乇丕讴 賲蹖鈥屭柏ж辟嗀�. 亘賴 禺丕胤乇 丕賵賳丕 賲賳 丕蹖賳 讴鬲丕亘 乇賵 卮乇賵毓 讴乇丿賲 賵 讴賳丕乇卮賵賳 讴賱蹖 蹖丕丿 诏乇賮鬲賲鈥�. 丕夭卮賵賳 賲賲賳賵賳賲
賴賲賴鈥屰� 丕蹖賳 賲賳丕亘毓 亘賴 丕賳诏賱蹖爻蹖 賴爻鬲賳丿 賵 亘賴 噩夭 禺賵丿 丕蹖賱蹖丕丿 丕夭 丕蹖賳讴賴 鬲乇噩賲賴 卮丿賳 蹖丕 賳賴 丕胤賱丕毓蹖 賳丿丕乇賲. 丿乇 丌蹖賳丿賴 丕诏乇 賲賳丕亘毓 亘賴鬲乇蹖 倬蹖丿丕 讴賳賲 丨鬲賲丕賸 亘賴 丕蹖賳 賱蹖爻鬲 丕囟丕賮賴 賲蹖鈥屭┵嗁�. 丿乇 囟賲賳 賲孬賱 賴賲蹖卮賴 賴賲卮賵賳 乇賵 賲蹖鈥屫堎嗃屫� 丕夭 丕蹖賳噩丕 丿丕賳賱賵丿 讴賳蹖丿
郾鄞郯鄢/郾/鄄郾
丕乇夭卮 禺賵丕賳丿賳 讴鬲丕亘 爻賴 賴夭丕乇 爻丕賱賴鈥屸€屫й� 讴賴 亘蹖卮鬲乇卮 鬲賵氐蹖賮 噩賳诏 賵 禺卮賵賳鬲賴 趩蹖賴責
蹖讴. 丕噩丕夭賴 賲蹖丿賴 亘賴 诏匕卮鬲賴 賳诏丕賴 讴賳蹖
亘丕 賵噩賵丿 丕蹖賳讴賴 丕爻胤賵乇賴 讴鬲丕亘 鬲丕乇蹖禺 賳蹖爻鬲貙 賴賲趩賳丕賳 賲賳毓讴爻鈥屭┵嗁嗀団€屰� 亘丕賵乇賴丕貙 爻賳鬲鈥屬囏ж� 丌乇夭賵賴丕 賵 卮蹖賵賴鈥屰� 夭賳丿诏蹖 丿乇 夭賲丕賳蹖賴 讴賴 亘賴卮 鬲毓賱賯 丿丕乇賴
丿賵. 賲鬲賵丕囟毓 賲蹖卮蹖
賲丕 丕賳爻丕賳鈥屬囏й� 賯乇賳 亘蹖爻鬲 賵 蹖讴賲蹖 亘丕 鬲讴賳賵賱賵跇蹖 賵 丕毓鬲賯丕丿丕鬲 賲丿乇賳賲賵賳 丕氐賵賱丕賸 賮讴乇 賲蹖鈥屭┵嗃屬� 讴賴 鬲丕賮鬲賴鈥屸€屰� 噩丿丕 亘丕賮鬲賴鈥屫й� 賴爻鬲蹖賲 賵 丕賳爻丕賳鈥屬囏й� 诏匕卮鬲賴鈥� 乇賵 毓賯亘鈥屬呚з嗀� 賵 賲鬲賮丕賵鬲 丕夭 禺賵丿賲賵賳 鬲氐賵乇 賲蹖鈥屭┵嗃屬�. 丕賲丕 賵賯鬲蹖 丕蹖賱蹖丕丿 賲蹖鈥屫堎嗃屫� 賲蹖鈥屫ㄛ屬嗃� 讴賴 賲乇丿賴丕 爻賴 賴夭丕乇 爻丕賱 倬蹖卮 賴賲 爻乇 夭賳鈥屬囏� 亘丕 賴賲 丿毓賵丕 賲蹖鈥屭┴必嗀� 賵 丌丿賲鈥屬囏� 丿乇爻鬲 賲孬賱 賲丕 禺卮賲貙 睾賲貙 丿乇賲丕賳丿诏蹖貙 賴賵爻 賵 卮毓賮 乇賵 亘賴 丿賱丕蹖賱蹖 亘爻蹖丕乇 賲卮丕亘賴 賲丕 鬲噩乇亘賴 賲蹖鈥屭┴必嗀�. 丕蹖賳噩丕 賲鬲賵噩賴 賲蹖卮蹖 讴賴 鬲賵 丕賵賳賯丿乇賴丕 賴賲 賲鬲賮丕賵鬲 賳蹖爻鬲蹖鈥�. 丕夭 胤乇賮蹖 丕蹖賳 亘賴 丕蹖賳 賲毓賳蹖賴 讴賴 毓賯丕蹖丿 鬲賵 賴賲 乇賵夭蹖 賲賲讴賳賴 賴賲蹖賳賯丿乇 賲爻禺乇賴 亘賴 賳馗乇 亘蹖丕丿 讴賴 丕毓鬲賯丕丿 蹖賵賳丕賳蹖丕賳 亘賴 禺丿丕蹖丕賳 丕賳鬲賯丕賲鈥屫� 賵 賴賵爻鈥屫ㄘж藏促堎� 毓噩蹖亘 亘賴 賳馗乇 賲蹖丕丿
爻賴. 鬲睾蹖蹖乇 乇賵 丨爻 賲蹖鈥屭┵嗃�
倬蹖賳讴乇貙 丕夭 丿丕賳卮賲賳丿丕賳 夭賲丕賳 賲丕貙 賲毓鬲賯丿賴 讴賴 禺卮賵賳鬲 毓賲賵賲丕賸 讴丕賴卮 倬蹖丿丕 讴乇丿賴 賵 丿賳蹖丕 賳爻亘鬲 亘賴 诏匕卮鬲賴 噩丕蹖 亘賴鬲乇蹖 亘乇丕蹖 夭賳丿诏蹖賴. 丕蹖賳 丕賱亘鬲賴 趩蹖夭蹖賴 丕禺亘丕乇 賵 卮亘讴賴鈥屬囏й� 丕噩鬲賲丕毓蹖 亘乇毓讴爻卮鈥� 乇賵 亘乇丕蹖 賲丕 鬲丿丕毓蹖 賲蹖鈥屭┵嗁嗀�. 丕蹖賱蹖丕丿 丕夭 丿賳蹖丕蹖蹖 賲蹖鈥屭� 讴賴 睾乇賯 丿乇 噩賳诏鈥屬囏й� 胤賵賱丕賳蹖賴 賵 賴賲賴 趩蹖夭 亘丕 噩賳诏 賲毓賳蹖 倬蹖丿丕 賲蹖鈥屭┵嗁�. 丨鬲蹖 丕賳爻丕賳蹖鬲 賵 卮乇賮. 趩蹖夭蹖 讴賴 亘丕 鬲賮讴乇丕鬲 (丕讴孬乇) 賲丕 丿乇 賲賵乇丿 禺卮賵賳鬲 丿蹖诏賴 噩賵乇 丿乇 賳賲蹖丕丿. 丿乇 賲賵乇丿 鬲睾蹖蹖乇 鬲賮讴乇丕鬲 丿乇 賲賵乇丿 亘乇丿賴鈥屫ж臂� 賵 丨賯賵賯 夭賳丕賳 賴賲 讴賴 賱丕夭賲 賳蹖爻鬲 鬲賵囟蹖丨蹖 亘丿賲. 丕蹖賳 賳卮賵賳 賲蹖丿賴 讴賴 亘卮乇蹖鬲 趩賴 乇丕賴 胤賵賱丕賳蹖鈥屫й� 丕賵賲丿賴 賵 丕蹖賳 賲蹖鈥屫堎嗁� 亘丕乇賯賴鈥屰� 賳賵乇蹖 丿乇 丿賳蹖丕蹖蹖 亘丕卮賴 讴賴 禺蹖賱蹖 鬲丕乇蹖讴 亘賴 賳馗乇 賲蹖丕丿
趩賴丕乇. 亘賴鬲 禺賵卮 賲蹖鈥屭柏辟�
噩丿丕蹖 氐丨賳賴鈥屬囏й� 胤賵賱丕賳蹖 噩賳诏 賵 讴卮鬲 賵 讴卮鬲丕乇 讴賴 賲睾夭鬲 乇賵 爻賽乇 賲蹖鈥屭┵嗁囏� 丿丕爻鬲丕賳 賵丕賯毓丕賸 噩丕賱亘賴 賵 亘丕賱丕 賵 倬丕蹖蹖賳鈥� 夭蹖丕丿 丿丕乇賴. 乇丕亘胤賴鈥屰� 亘蹖賳 禺丿丕蹖丕賳 賵 丕賳爻丕賳鈥屬囏� 賵 丿乇丕賲丕賴丕蹖 亘蹖賳卮賵賳 賵丕賯毓丕賸 禺賵丕賳丿賳蹖賴
倬賳噩. 乇賮乇賳爻鈥屬囏� 乇賵 賲鬲賵噩賴 賲蹖卮蹖
丕蹖賳 讴鬲丕亘 丕夭 賯丿蹖賲蹖鈥屫臂屬� 讴鬲丕亘鈥屬囏й屰屬� 讴賴 亘乇丕蹖 賲丕 賲賵賳丿賴 賵 鬲賵爻胤 丕賮乇丕丿 夭蹖丕丿蹖 賴賲 禺賵賳丿賴 卮丿賴. 倬爻 胤亘蹖毓鬲丕賸 丕乇噩丕毓丕鬲 夭蹖丕丿蹖 亘賴卮 丿乇 丕丿亘蹖丕鬲 賵 丨鬲蹖 讴鬲丕亘鈥屬囏й� 賳丕丿丕爻鬲丕賳 丿丕丿賴 賲蹖卮賴. 丿賵賳爻鬲賳 丿丕爻鬲丕賳 賲孬賱 亘丕夭 讴乇丿賳 賯賮賱 丕蹖賳 鬲卮亘蹖賴鈥屬囏ж池�
趩胤賵乇蹖 亘禺賵賳蹖賲卮責
賲賳 丨丿賵丿 鄹 讴鬲丕亘 賲乇鬲亘胤 亘丕賴丕卮 乇賵 丿乇 丕蹖賳 賲丿鬲 禺賵賳丿賲 賵 丕蹖賳噩丕 賲蹖鈥屫堌з� 讴鬲丕亘鈥屬囏� 乇賵 賲賯丕蹖爻賴 讴賳賲
亘賴鬲乇蹖賳 鬲乇噩賲賴 趩蹖賴責
丕蹖賳 禺蹖賱蹖 爻賱蹖賯賴鈥屫й屬� 讴賴 亘蹖賳 鬲乇噩賲賴鈥屬囏й� 丕賳诏賱蹖爻蹖 讴丿賵賲 乇賵 丕賳鬲禺丕亘 讴賳蹖丿. 賲賳 丕賲蹖賱蹖 賵蹖賱爻賵賳 乇賵 丕賳鬲禺丕亘 讴乇丿賲 趩賵賳 噩丿蹖丿鬲乇蹖賳 賵 亘賴 胤亘毓 爻丕丿賴鈥屫臂屬� 亘乇丕蹖 禺賵賳丿賳 亘賵丿鈥� 賵 丕噩乇丕蹖 氐賵鬲蹖 毓丕賱蹖鈥屫й� 賴賲 丿丕卮鬲. 丕賲丕 禺亘 丿乇 賲賯丕蹖爻賴 亘丕 鬲乇噩賲賴鈥屬囏й� 丿蹖诏賴 賲毓賱賵賲 亘賵丿 讴賴 亘毓囟蹖鈥屬囏ж促堎� (賲孬賱 鬲乇噩賲賴鈥屰� 倬購倬) 賳孬乇 賲賵夭賵賳鈥屫必� 夭蹖亘丕鬲乇 賵 丕賱亘鬲賴 爻禺鬲鈥屫堌з嗏€屫臂� 丿丕卮鬲賳丿
丕夭 讴噩丕 卮乇賵毓 讴賳賲責
Greek Myths
丕蹖賱蹖丕丿 倬乇 丕夭 丕爻丕賲蹖 禺丿丕蹖丕賳 賵 賯賴乇賲丕賳丕賳賴 賵 卮賳丕禺鬲賳卮賵賳 賵 倬蹖丿丕 讴乇丿賳 乇賵丕亘胤 亘蹖賳卮賵賳 亘賴 賮賴賲蹖丿賳 丿丕爻鬲丕賳 禺蹖賱蹖 讴賲讴 賲蹖鈥屭┵嗁�. 丕蹖賳 讴鬲丕亘 夭蹖亘丕 賴賲賴 丕蹖賳鈥屬囏� 乇賵 亘賴 爻丕丿賴鈥屫臂屬� 卮讴賱 賲賲讴賳 亘丕 鬲氐賵蹖乇诏乇蹖鈥屸€屬囏й� 毓丕賱蹖 鬲賵囟蹖丨 賲蹖丿賴 賵 鬲丕夭賴 禺賱丕氐賴鈥屰� 丿丕爻鬲丕賳 丕蹖賱蹖丕丿 乇賵 賴賲 丿丕乇賴
禺賱丕氐賴鈥屰� 爻乇賵丿賴丕 賵 鬲丨賱蹖賱鈥屬囏ж促堎� 乇賵 丕夭 讴噩丕 亘禺賵賳賲責
亘蹖賳 丕蹖賳 趩賴丕乇 讴鬲丕亘 鬲丨賱蹖賱蹖鈥屫й� 讴賴 禺賵賳丿賲 亘賴 賳馗乇 賲賳 讴蹖賱蹖賮爻 賳賵鬲爻 丕夭 賴賲賴 亘賴鬲乇 亘賵丿. 丕賲丕 賲夭丕蹖丕 賵 賲毓丕蹖亘 賴乇 讴鬲丕亘 乇賵 賱蹖爻鬲 賲蹖鈥屭┵嗁�
Cliffsnotes
丿丕卮鬲賳 賱蹖爻鬲 讴丕乇丕讴鬲乇 賵 賳賯卮賴鈥屰� 乇賵丕亘胤卮賵賳
鬲賵囟蹖丨丕鬲 丿乇 賲賵乇丿 鬲丕乇蹖禺 讴鬲丕亘 賵 卮丕毓乇卮
禺賱丕氐賴鈥屬囏й� 讴丕賲賱鈥屫� 賵 噩丿丕诏丕賳賴
鬲丨賱蹖賱鈥屬囏й� 胤賵賱丕賳蹖鈥屫必� 丿賯蹖賯鈥屫� 賵 噩丿丕诏丕賳賴
亘禺卮 丌賳丕賱蹖夭 讴丕乇丕讴鬲乇
爻賴 賲賯丕賱賴 丿乇 丕賳鬲賴丕 讴賴 丿乇 丨丿 賲鬲賵爻胤 亘賵丿賳丿
SparkNotes Literature Guides
賱蹖爻鬲 讴丕乇丕讴鬲乇 丿賯蹖賯鈥屫� 賵 亘丕 噩夭卅蹖丕鬲 亘蹖卮鬲乇
鬲賵囟蹖丨丕鬲 鬲賽賲貙 賲賵鬲蹖賮 賵 爻賲亘賱鈥屬囏� 讴賴 亘賴 丕蹖賳 卮讴賱 噩丕蹖 丿蹖诏賴鈥屫й� 賳亘賵丿
禺賱丕氐賴鈥屬囏й� 賲禺鬲氐乇 賵 賲賮蹖丿 ( 賲毓賲賵賱丕賸 趩賳丿 爻乇賵丿 亘丕 賴賲 蹖讴蹖 卮丿賴)
鬲丨賱蹖賱鈥屬囏й� 讴賵鬲丕賴貙 诏丕賴蹖 亘丕 賳讴丕鬲 賲鬲賮丕賵鬲 (賲毓賲賵賱丕賸 趩賳丿 爻乇賵丿 亘丕 賴賲 蹖讴蹖 卮丿賴)
鈥孊loom's Guide
鬲賵囟蹖丨 丿乇亘丕乇賴鈥屰� 鬲丕乇蹖禺 讴鬲丕亘
禺賱丕氐賴 賵 鬲丨賱蹖賱 讴賳丕乇 賴賲 丿乇 蹖讴 賲鬲賳 胤賵賱丕賳蹖 讴賴 爻乇賵丿 乇賵 匕讴乇 賲蹖鈥屭┵嗁� 丕賲丕 噩夭卅蹖丕鬲蹖 賳丿丕乇賴
讴賵鬲丕賴鈥屫臂屬� 禺賱丕氐賴 賵 鬲丨賱蹖賱
倬丕賳夭丿賴 賲賯丕賱賴鈥屰� 鬲丨賱蹖賱蹖 亘賴 賳爻亘鬲 讴賵鬲丕賴 讴賴 亘毓囟蹖鈥屬囏ж促堎� 賵丕賯毓丕 噩丕賱亘賳 賵 噩賵丕賳亘 禺丕氐蹖 丕夭 丿丕爻鬲丕賳 乇賵 亘乇乇爻蹖 賲蹖鈥屭┵嗁嗀�
鈥孊loom's Modern Critical interpretations
賲噩賲賵毓賴鈥屫й� 丕夭 丿賴 賲賯丕賱賴鈥屰� 胤賵賱丕賳蹖 讴賴 亘蹖賳卮賵賳 賴賲 毓丕賱蹖 賴爻鬲貙 賴賲 賮賵賯鈥屫з勜关ж団€� 亘蹖鈥屬呚官嗃� 賵 丨賵氐賱賴 爻乇亘乇
丕诏乇 亘禺賵丕賲 賴賲賴鈥屰� 丕蹖賳 鬲丨賱蹖賱鈥屬囏� 乇賵鈥� 賳禺賵賳賲 賵 亘卮蹖賳賲 蹖讴蹖 亘乇丕賲 賲賴賲鈥屫臂屬嗏€屬囏ж� 乇賵 鬲賵囟蹖丨 亘丿賴 趩蹖責
鈥孴he Iliad of Homer
氐丿 丿乇 氐丿 丿賵乇賴鈥屰� 丕蹖賱蹖丕丿 诏乇蹖鬲 讴賵乇爻夭. 亘丕 禺蹖丕賱 乇丕丨鬲 爻乇 讴賱丕爻 蹖讴 丕爻鬲丕丿 賵丕乇丿 賲蹖鈥屫篡屬嗃� 賵 亘賴 诏賱趩蹖賳 鬲丨賱蹖賱鈥屬囏� 诏賵卮 賲蹖鈥屭┵嗃�
丕诏乇 亘禺賵丕賲 讴賱 丿丕爻鬲丕賳 噩賳诏鈥� 鬲乇賵蹖 乇賵鈥� 亘丿賵賳賲 趩蹖責
鈥孴roy: The Greek Myths Reimagined
丕蹖賱蹖丕丿 丿丕爻鬲丕賳 亘禺卮 讴賵鬲丕賴蹖 丕夭 噩賳诏賴 賵 賳賴 丿賱蹖賱 卮乇賵毓 噩賳诏 乇賵 鬲賵囟蹖丨 賲蹖丿賴貙 賳賴 賲蹖诏賴 丿乇 丌禺乇 趩蹖鈥� 賲蹖卮賴. 亘乇丕蹖 丕蹖賳 亘丕蹖丿 鬲讴賴鈥屬囏й� 倬丕夭賱 乇賵 丕夭 丌孬丕乇 丿蹖诏賴 噩賲毓 讴乇丿 讴賴 丕爻鬲賮賳 賮乇丕蹖 丿乇 讴鬲丕亘 鬲乇賵蹖 夭丨賲鬲卮 乇賵 讴卮蹖丿賴. 賮乇丕蹖 丕夭 丕賵賱賽 丕賵賱貙 丕夭 鬲賵賱丿 倬丿乇丕賳 賯賴乇賲丕賳丕賳 讴鬲丕亘貙 丿丕爻鬲丕賳 乇賵 亘丕 賳賴丕蹖鬲 噩匕丕亘蹖鬲 鬲毓乇蹖賮 賲蹖鈥屭┵嗁� 賵 亘丕 倬丕蹖丕賳 噩賳诏 鬲賲賵賲卮 賲蹖鈥屭┵嗁�. 丕蹖賳 锟斤拷鬲丕亘 乇賵 賲蹖卮賴 賯亘賱 丕夭 丕蹖賱蹖丕丿 賴賲 禺賵賳丿 讴賴 賴賲賴鈥屰� 丿丕爻鬲丕賳 乇賵 亘丿賵賳蹖 賵 亘毓丿 亘賴 爻乇丕睾 丕蹖賱蹖丕丿 亘蹖丕蹖
鬲氐賵蹖乇蹖 趩蹖責
鈥孧arvel Illustrated: The Iliad
賲噩賲賵毓賴鈥屰屸€� 讴賲蹖讴 賲丕乇賵賱 亘賴 賳爻亘鬲 禺賵亘賴鈥�. 鬲氐賵蹖乇诏乇蹖 賲毓賲賵賱蹖鈥屫й� 丿丕乇賴 賵賱蹖 亘賴 丿丕爻鬲丕賳 賵賮丕丿丕乇賴. 賲蹖卮賴 賯亘賱 讴鬲丕亘 禺賵賳丿卮 賵 亘丕 丿丕爻鬲丕賳 丌卮賳丕 卮丿. 賲蹖卮賴 賴賲乇丕賴卮 禺賵賳丿 讴賴 賲乇賵乇蹖 亘卮賴 賵 亘蹖卮鬲乇 丕夭 卮禺氐蹖鬲鈥屬囏� 爻乇 丿乇丌賵乇丿
氐賵鬲蹖 趩蹖責
賲賳 賳爻禺賴鈥屰� 噩丿蹖丿鬲乇 丌丿蹖亘賱 乇賵 诏賵卮 丿丕丿賲 讴賴 丕夭 乇賵蹖 鬲乇噩賲賴鈥屰� 丕賲蹖賱蹖 賵蹖賱爻賵賳 丕噩乇丕 卮丿賴. 亘丕蹖丿 亘诏賲 讴賴 蹖讴蹖 丕夭 丿賱丕蹖賱 賱匕鬲 亘乇丿賳 丕夭 讴鬲丕亘 賴賲蹖賳 亘賵丿. 噩賲賱丕鬲 鬲賵 匕賴賳 禺賵丿賲 禺蹖賱蹖 亘蹖鈥屫ж池ж� 賵 乇亘丕鬲蹖 亘賵丿賳丿. 丕賲丕 賵賯鬲蹖 讴鬲丕亘 乇賵 賴賲夭賲丕賳 禺賵賳丿賲 賵 诏賵卮 丿丕丿賲貙 丕噩乇丕蹖 丨賲丕爻蹖 丕蹖賳 賳爻禺賴 禺蹖賱蹖 讴蹖賮蹖鬲 賲胤丕賱毓賴鈥屬� 乇賵 亘丕賱丕 亘乇丿
Pro tip:
禺賵丿鬲賵賳 乇賵 賵丕乇丿 诏乇賵賴蹖 丕夭 讴鬲丕亘 禺賵賳鈥屬囏й� 丨爻丕亘蹖 亘讴賳蹖丿 讴賴 禺蹖賱蹖 亘蹖卮鬲乇 丕夭鬲賵賳 賲蹖鈥屫堎嗁嗀� 丨賵氐賱賴鈥屰� 氐丨亘鬲 讴乇丿賳 丿丕乇賳丿 賵 亘蹖鈥屫臂屫� 亘賴 丕卮鬲乇丕讴 賲蹖鈥屭柏ж辟嗀�. 亘賴 禺丕胤乇 丕賵賳丕 賲賳 丕蹖賳 讴鬲丕亘 乇賵 卮乇賵毓 讴乇丿賲 賵 讴賳丕乇卮賵賳 讴賱蹖 蹖丕丿 诏乇賮鬲賲鈥�. 丕夭卮賵賳 賲賲賳賵賳賲
賴賲賴鈥屰� 丕蹖賳 賲賳丕亘毓 亘賴 丕賳诏賱蹖爻蹖 賴爻鬲賳丿 賵 亘賴 噩夭 禺賵丿 丕蹖賱蹖丕丿 丕夭 丕蹖賳讴賴 鬲乇噩賲賴 卮丿賳 蹖丕 賳賴 丕胤賱丕毓蹖 賳丿丕乇賲. 丿乇 丌蹖賳丿賴 丕诏乇 賲賳丕亘毓 亘賴鬲乇蹖 倬蹖丿丕 讴賳賲 丨鬲賲丕賸 亘賴 丕蹖賳 賱蹖爻鬲 丕囟丕賮賴 賲蹖鈥屭┵嗁�. 丿乇 囟賲賳 賲孬賱 賴賲蹖卮賴 賴賲卮賵賳 乇賵 賲蹖鈥屫堎嗃屫� 丕夭 丕蹖賳噩丕 丿丕賳賱賵丿 讴賳蹖丿
郾鄞郯鄢/郾/鄄郾
May 3, 2021
The original Marvel movie?
What struck me most about The Iliad on this first read is that it has so much more in common with whichever blockbuster is showing at your nearest multiplex, than it does with novels as we know them today.
It鈥檚 just SO cinematic, and the storytelling techniques on show are SUCH familiar ones. Sweeping bird鈥檚 eye views of the battlefield; up-close scenes of celebrity combatants fighting one-on-one, complete with trash talk; stirring speeches; even the pre-battle montage of the hero donning his shining armour鈥攁ll that鈥檚 lacking is the rousing soundtrack. On the flip side, it really is all action and dialogue (with trading card-style bios thrown in for the lesser-known heroes, so you know who鈥檚 who), which means it lacks the interiority and reflection you expect from a novel.
The story itself consists mostly of battle scenes, with meddling gods and goddesses keeping things interesting by playing tug-of-war over the puny mortals, turning the tide of the war now in the Trojans鈥� favour, now the Achaeans. One thing moviemakers of today could yet stand to learn from The Iliad is to ditch the 鈥榞ood guys鈥� vs 鈥榖ad guys鈥� thing: it鈥檚 much more compelling if both sides are complex and you鈥檙e unsure who to cheer for.
Even the tedious parts make more sense when you view the whole thing as a movie told in words. Homer is very partial to extended similes involving lions, dogs and wild boar for some reason:
As when in the midst of dogs and hunting men
a wild boar or lion wheels about, reveling in his strength,
and the men arraying themselves like a wall of defense
stand to face him and hurl from their hands
volleys of spears; but never does his noble heart
feel fear, nor does he flee鈥攁nd his courage will kill him鈥�
and relentlessly he wheels about testing the ranks of men,
and wherever he charges, there the ranks of men give way;
so Hector going along the battle throng turned and twisted...
All this talk of lions and boars is a little clunky on the page, and it breaks up the flow of the story. But it also paints the clearest visual image of the action and the physicality of the heroes, surely functioning as stage directions for a bard reciting these lines (鈥榞ive us your best 鈥渨heeling lion鈥濃€�).
That we humans have relied on the same methods to tell a gripping story for over 3,000 years is a joy to me. Our direct connection through story to the past, to people of antiquity, The Iliad (and other works like it) serves as a reminder that those people were more like us than we tend to recognise. Not to mention it is just a bloody good yarn.
What struck me most about The Iliad on this first read is that it has so much more in common with whichever blockbuster is showing at your nearest multiplex, than it does with novels as we know them today.
It鈥檚 just SO cinematic, and the storytelling techniques on show are SUCH familiar ones. Sweeping bird鈥檚 eye views of the battlefield; up-close scenes of celebrity combatants fighting one-on-one, complete with trash talk; stirring speeches; even the pre-battle montage of the hero donning his shining armour鈥攁ll that鈥檚 lacking is the rousing soundtrack. On the flip side, it really is all action and dialogue (with trading card-style bios thrown in for the lesser-known heroes, so you know who鈥檚 who), which means it lacks the interiority and reflection you expect from a novel.
The story itself consists mostly of battle scenes, with meddling gods and goddesses keeping things interesting by playing tug-of-war over the puny mortals, turning the tide of the war now in the Trojans鈥� favour, now the Achaeans. One thing moviemakers of today could yet stand to learn from The Iliad is to ditch the 鈥榞ood guys鈥� vs 鈥榖ad guys鈥� thing: it鈥檚 much more compelling if both sides are complex and you鈥檙e unsure who to cheer for.
Even the tedious parts make more sense when you view the whole thing as a movie told in words. Homer is very partial to extended similes involving lions, dogs and wild boar for some reason:
As when in the midst of dogs and hunting men
a wild boar or lion wheels about, reveling in his strength,
and the men arraying themselves like a wall of defense
stand to face him and hurl from their hands
volleys of spears; but never does his noble heart
feel fear, nor does he flee鈥攁nd his courage will kill him鈥�
and relentlessly he wheels about testing the ranks of men,
and wherever he charges, there the ranks of men give way;
so Hector going along the battle throng turned and twisted...
All this talk of lions and boars is a little clunky on the page, and it breaks up the flow of the story. But it also paints the clearest visual image of the action and the physicality of the heroes, surely functioning as stage directions for a bard reciting these lines (鈥榞ive us your best 鈥渨heeling lion鈥濃€�).
That we humans have relied on the same methods to tell a gripping story for over 3,000 years is a joy to me. Our direct connection through story to the past, to people of antiquity, The Iliad (and other works like it) serves as a reminder that those people were more like us than we tend to recognise. Not to mention it is just a bloody good yarn.
November 9, 2016
After reading The Illiad I faced a quandary- how do you review one of the most important and enduring works of creativity in human history? What can you say that hundreds of thousands of others haven't?
My answer to this question is that I must join the chorus of those who have come before me and sing the praises of what is one of the best stories I have ever read, as fascinating and gripping now as it no doubt was when it was penned nearly three millennia ago.
There are many reasons why this book has endured. It is a story of love, hate, vengeance, fate, pettiness, grief and war, bloody and prolonged war - a microcosm of human life and the furies that drive us to excess.
You know the story. Paris steals Helen away to Troy. Agamemnon and the Greeks raise and army and lay seige to that great city. Achilles, the greatest warrior history has ever seen, fights and dies, a poison arrow embedded in his ankle. The Greeks roll a massive wooden horse up to Troy's gates, and the war ends in trickery and massacre.
You know all this, but trust me, you don't know it the way The Illiad tells it. This is a glorious read, the brutal blows and shrieks of war leap from the page, and the human passions that drive the protaganists are vivid and compelling. You will read this book and wonder at how something from another time, translated from it's original tongue, can so totally enthrall a modern reader.
It's powerful, heady stuff.
So many images from this story are carved into my synapses. Hector and Achilles stalking the battlefield like avatars of death, scything down opponents in their tens. Priam begging Achilles for the return of his son's mangled body. Heroes cut down mid-fight, their souls headed for the underworld, their deaths mourned even by the gods on Olympus, who watch and guide the battle from above.
There are a handful of books that every reader must experience - books that are milestones in human culture. The Illiad is one of these books. I don't know how I lived more than three decades before I read it, and it makes me nostalgic for a time I never lived through, when a high school education in the classics was something that everyone received.
My answer to this question is that I must join the chorus of those who have come before me and sing the praises of what is one of the best stories I have ever read, as fascinating and gripping now as it no doubt was when it was penned nearly three millennia ago.
There are many reasons why this book has endured. It is a story of love, hate, vengeance, fate, pettiness, grief and war, bloody and prolonged war - a microcosm of human life and the furies that drive us to excess.
You know the story. Paris steals Helen away to Troy. Agamemnon and the Greeks raise and army and lay seige to that great city. Achilles, the greatest warrior history has ever seen, fights and dies, a poison arrow embedded in his ankle. The Greeks roll a massive wooden horse up to Troy's gates, and the war ends in trickery and massacre.
You know all this, but trust me, you don't know it the way The Illiad tells it. This is a glorious read, the brutal blows and shrieks of war leap from the page, and the human passions that drive the protaganists are vivid and compelling. You will read this book and wonder at how something from another time, translated from it's original tongue, can so totally enthrall a modern reader.
It's powerful, heady stuff.
So many images from this story are carved into my synapses. Hector and Achilles stalking the battlefield like avatars of death, scything down opponents in their tens. Priam begging Achilles for the return of his son's mangled body. Heroes cut down mid-fight, their souls headed for the underworld, their deaths mourned even by the gods on Olympus, who watch and guide the battle from above.
There are a handful of books that every reader must experience - books that are milestones in human culture. The Illiad is one of these books. I don't know how I lived more than three decades before I read it, and it makes me nostalgic for a time I never lived through, when a high school education in the classics was something that everyone received.
September 10, 2023
卮丕蹖丿 讴賲鬲乇 讴爻蹖 亘丕卮賴 讴賴 亘丕 噩賳诏 鬲乇賵丌 丌卮賳丕 賳亘丕卮賴 賵 蹖丕 丿乇 诏賵卮賴 讴賳丕乇賴 賴丕 丿乇亘丕乇賴 丕蹖賳 丕孬乇 (丕蹖賱蹖丕丿) 賳卮賳蹖丿賴 亘丕卮賴.
丕蹖賱蹖丕丿 丿丕爻鬲丕賳 爻丕賱 丌禺乇 噩賳诏 鬲乇賵丌 蹖毓賳蹖 爻丕賱 賳賴賲 賵 丌禺乇蹖賳 爻丕賱 噩賳诏貙 亘乇丕蹖 讴爻丕賳蹖 讴賴 賳賲蹖丿賵賳賳丿 丕蹖賳 丿丕爻鬲丕賳 趩蹖 賴爻鬲 賵 蹖丕 讴賱蹖鬲 讴鬲丕亘 趩蹖 賴爻鬲 禺賱丕氐賴 讴賵鬲丕賴蹖 丕夭 丿丕爻鬲丕賳 乇賵 丿乇 倬丕蹖蹖賳 賲蹖賳賵蹖爻賲:
丿乇 倬蹖 噩卮賳 毓乇賵爻蹖 亘乇诏夭丕乇 卮丿賴 鬲賵爻胤 禺丿丕蹖 丌爻賲丕賳 賴丕 夭卅賵爻貙 丕乇蹖爻 丕賱賴賴 讴卮賲讴卮 賵 蹖丕 賳賮丕賯 亘賴 丕蹖賳 噩卮賳 丿毓賵鬲 賳卮丿 讴賴 禺亘 賮讴乇 賲蹖讴賳賲 亘鬲賵賳丿 丨丿爻 亘夭賳蹖丿 趩乇鬲 丿毓賵鬲 賳卮丿賴貙 倬爻 丕夭 丕蹖賳 賲賵囟賵毓 丕蹖賳 丕賱賴賴 爻蹖亘蹖 胤賱丕蹖蹖 乇賵 亘賴 丿丕禺賱 賲賴賲丕賳蹖 倬乇鬲丕亘 賲蹖讴賳賴 讴賴 乇賵蹖 丕賵賳 賳賵卮鬲賴 卮丿賴 亘乇丕蹖 夭蹖亘丕鬲乇蹖賳 夭賳貙 賵 爻賴 丕賱賴 亘丕 賳丕賲 賴丕蹖: 賴乇丕 貙 丌鬲賳賴 賵 丌賮乇賵丿蹖鬲 賴乇 爻賴 丕丿毓丕蹖 賲丕賱讴蹖鬲 亘乇 爻蹖亘 賲蹖讴賳賳丿 賵 丕夭 丕賵賳噩丕蹖蹖 讴賴 亘賴 賳鬲蹖噩賴 賳賲蹖乇爻賳丿 丕夭 夭卅賵爻 丿乇禺賵丕爻鬲 賲蹖讴賳賳丿 鬲丕 亘蹖賳 丕蹖賳 爻賴 丿丕賵乇蹖 讴賳丿 賵 丕夭 丕賵賳噩丕蹖蹖 讴賴 夭卅賵爻 丨丕賱 賵 丨賵氐賱賴 爻乇 賵 讴賱賴 夭丿賳 亘丕 丕蹖賳 爻賴 丕賱賴賴 乇賵 賳丿丕乇賴 丕蹖賳 丿丕賵乇蹖 乇賵 亘賴 倬丕乇蹖爻 夭丕丿賴 鬲乇賵丌 賵丕诏匕丕乇 賲蹖讴賳賴 賵 胤蹖 氐丨亘鬲 賴丕蹖蹖 賴乇賲爻 丕蹖賳 爻蹖亘 乇賵 亘賴 丿爻鬲 倬丕乇蹖爻 賲蹖丿賴 賵 丿丕賵乇蹖 亘蹖賳 丕蹖賳 爻賴 丕賱賴賴 乇賵 乇賵蹖 丿賵卮 丕蹖賳 賲乇丿 亘蹖賳賵丕 賲蹖匕丕乇賴. 爻賴 丕賱賴賴 亘毓丿 丕夭 卮賳蹖丿賳 丕蹖賳 賲賵囟賵毓 亘乇賴賳賴 卮丿賳丿 賵 亘賴 爻賵蹖 倬丕乇爻 乇賮鬲賳丿 賵 丕夭 丕賵 禺賵丕爻鬲賳丿 鬲丕 亘賴鬲乇蹖賳 乇賵 丕賳鬲禺丕亘 讴賳賴 賵 賴乇讴丿賵賲 乇卮賵賴 丕蹖 亘賴 倬丕乇蹖爻 倬蹖卮賳賴丕丿 丿丕丿賳丿貙 賴乇丕 倬丕丿卮丕賴蹖 丕乇賵倬丕 賵 丌爻蹖丕 貙 丌鬲賳丕 亘賴 丕賵 噩賳诏丕賵乇蹖 賵 禺乇丿 賵 丌賮乇賵丿蹖鬲 夭蹖亘丕鬲乇蹖賳 夭賳 丕爻倬丕乇鬲 蹖毓賳蹖 賴賱賳 乇賵 倬蹖卮賳賴丕丿 丿丕丿 賵 丕夭 丕賵賳噩丕蹖蹖 讴賴 倬丕乇蹖爻 賲丕 爻爻鬲 亘賵丿賴 倬蹖卮賳賴丕丿 丌賮乇賵丿蹖鬲 乇賵 賯亘賵賱 賲蹖讴賳賴 賵 丕蹖賳 賴賲賴 鬲乇丕跇丿蹖 賵 睾賲 賵 禺賵卮蹖 乇丕 丿乇 亘賴 賳丕賲 噩賳诏 鬲乇賵丌 乇睾賲 賲蹖夭賳賴貙 趩乇丕 讴賴 倬丕乇蹖爻 倬爻 丕夭 丿丕丿賳 爻蹖亘 亘賴 丌賮乇賵丿蹖鬲 丿乇 賲賴賲丕賳蹖蹖 賴賱賳 乇賵 丕夭 丿爻鬲 賴賲爻乇卮 賲賳丕賱卅賵爻 賲蹖丿夭丿賴.
禺亘 丿丕爻鬲丕賳 賵 毓賱鬲 噩賳诏 鬲乇賵丌 丕蹖賳胤賵乇蹖 卮乇賵毓 卮丿貙 丨丕賱丕 亘乇蹖賲 爻乇丕睾 丿丕爻鬲丕賳 丕氐賱蹖 讴賴 丿乇 丕蹖賳 賲賳馗賵賲賴 乇賵丕蹖鬲 賲蹖卮賴:
亘乇丕蹖 卮禺氐 賲賳 蹖讴蹖 丕夭 噩匕丕亘鬲乇蹖賳 鬲噩乇亘賴 賴丕 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 賵 蹖丕 賲賳馗賵賲賴 亘賵丿貙 丿乇诏蹖乇蹖 亘蹖賳 禺丿丕蹖丕賳貙 丕賳爻丕賳 賴丕 賵 丿禺丕賱鬲 賴丕卮賵賳 丿乇 丕賲賵乇 賴賲丿蹖诏賴 亘爻蹖丕乇 噩匕丕亘 亘賵丿貙 丨賯蹖賯鬲丕 賯亘賱 卮乇賵毓 丨爻 賲蹖讴乇丿賲 亘丕 鬲賵噩賴 亘賴 丕蹖賳讴賴 丕蹖賳 賲賳馗賵賲賴 亘丕賱丕蹖 2500 爻丕賱 倬蹖卮 爻乇賵丿賴 卮丿賴貙 賳鬲賵賳賲 亘丕賴丕卮 丕乇鬲亘丕胤 亘诏蹖乇賲 賵 禺賵賳丿賳卮 丨賵氐賱賴 爻乇 亘乇 亘丕卮賴 賵 丿乇 賵賴賱賴 丕賵賱 丕蹖賳 卮讴 賵 丕亘賴丕賲 賲賳 乇丕噩毓 丕蹖賳 丕孬乇 乇賮毓 卮丿.
卮禺氐丕 丿乇 丕丿亘蹖丕鬲 賵 讴鬲丕亘禺賵丕賳蹖 亘丕 讴鬲丕亘 賴丕蹖 丿丕爻鬲丕賳蹖 讴賴 賳亘乇丿 丿乇 丕賵賳賴丕 賵 鬲賵氐蹖賮丕鬲 賳亘乇丿 賳賯卮 亘爻夭丕蹖蹖 丿丕乇賴 賵 蹖丕 鬲賲乇讴夭 乇賵卮賵賳 賴爻鬲 亘乇丕蹖 賲賳 趩賳丕賳 噩匕丕亘 賳禺賵丕賴丿 亘賵丿 賵賱蹖 丿乇 丕蹖賳 賲賳馗賵賲賴 亘乇毓讴爻 亘賵丿貙 亘胤賵乇蹖 讴賴 丕夭 禺胤 亘賴 禺胤 丕蹖賳 賳亘乇丿賴丕 亘蹖賳 賯賴乇賲丕賳丕賳 賵 蹖丕 賱卮诏乇蹖丕賳 賵 丨鬲蹖 丿禺丕賱鬲 禺丿丕蹖丕賳 丿乇 丕蹖賳 噩賳诏 賵 丿乇 倬蹖 賴丿賮蹖 讴賴 亘賵丿賳丿 亘乇丕蹖 賲賳 亘賴 卮丿鬲 夭蹖亘丕 亘賵丿 賵 賱匕鬲 賲蹖亘乇丿賲貙 乇噩夭鈥屫堌з嗃� 賴丕 丨乇讴鬲 爻乇亘丕夭丕賳 賵 丌賲丕丿賴 卮丿賳 丌賳賴丕 亘乇丕蹖 乇夭賲.
丿乇亘丕乇賴 卮禺氐蹖鬲 賴丕蹖 賲賵乇丿 毓賱丕賯賲 亘丕蹖丿 亘賴 賴讴鬲賵乇貙 丌跇丕讴爻貙 丿蹖賵賲丿 丕卮丕乇賴 讴賳賲.
賴乇 蹖讴 丕夭 卮禺氐蹖鬲 賴丕蹖 丿丕爻鬲丕賳 賳賲丕丿蹖賳 賴爻鬲賳丿貙 亘賴 胤賵乇 賲孬丕賱 卮禺氐蹖鬲 丌诏丕賲賲賳賵賳 卮禺氐蹖鬲蹖 賲鬲讴亘乇 賵 禺賵丿亘蹖賳 讴賴 亘禺丕胤乇 賲賳丕賮毓 卮禺氐蹖 丿賱 賯賴乇賲丕賳 禺賵丿 乇丕 賲蹖讴卮賳丿 賵 賴賲蹖賳 亘丕毓孬 賲蹖卮賵丿 讴賴 賱卮诏乇卮 鬲賱賮丕鬲 夭蹖丕丿蹖 鬲丨賲蹖賱 亘卮賴 賵 鬲賮乇賯賴 亘蹖賳 賮乇賲丕賳丿賴丕賳卮 丕賮鬲丿.
亘賴 噩乇丕鬲 賲蹖鬲賵丕賳 诏賮鬲 丿乇 丌孬丕乇 睾乇亘蹖 蹖讴蹖 丕夭 丨賲丕爻蹖 鬲乇蹖賳 讴鬲丕亘 賴丕 亘賵丿貙 蹖毓賳蹖 賵賯鬲蹖 丕蹖賳 賲賳馗賵賲賴 乇賵 賲胤丕賱毓賴 賲蹖讴賳蹖賲 賲毓賳丕蹖 讴賱蹖 丨賲丕爻賴 乇賵 丿乇 賲蹖丕亘蹖賲.
賵 禺亘 賱丕夭賲 亘賴 匕讴乇 賴爻鬲 讴賴 丕蹖賳 賲賳馗賵賲賴 亘蹖 賳賯氐 賴賲 賳蹖爻鬲貙 亘丕乇 賴丕 卮丕蹖丿 乇賮鬲丕乇 賴丕蹖 讴賵丿讴丕賳賴 賵 賯賴乇 賵 丌卮鬲蹖 賴丕 賵 诏乇蹖賴 賴丕蹖 讴賵丿讴蹖 讴賴 丕爻亘丕亘 亘丕夭蹖卮 乇賵 丕夭卮 诏乇賮鬲賳丿 賳蹖夭 賴爻鬲蹖賲 讴賴 诏丕賴丕 亘丕毓孬 賲蹖卮丿 亘賴 丕蹖賳 乇賮鬲丕乇 卮禺氐蹖鬲 賴丕 亘禺賳丿賲 ...
鬲乇丕跇丿蹖 .... 丿乇 賲賵乇丿 鬲乇丕跇丿蹖 亘丕蹖丿 亘诏賲 讴賴 蹖讴蹖 丕夭 夭蹖亘丕鬲乇蹖賳 賴丕 亘乇丕蹖 賲賳 亘賵丿貙 丿賵爻鬲蹖 毓夭蹖夭 丕夭 丿爻鬲 乇賮鬲賴 賵 亘丕乇 賴丕 賵 亘丕乇賴丕 亘丕毓孬 睾賲 賵 丕賳丿賵賴蹖 噩丕賳讴丕賴 賴賲乇丕賴 亘丕 丕卮讴 賴丕蹖蹖 亘乇丕蹖 讴爻蹖 趩賵賳 亘乇丕丿乇 丕夭 丿爻鬲 乇賮鬲賴 乇賵 丿乇 丕蹖賳 丿丕爻鬲丕賳 賲蹖亘蹖賳蹖賲 讴賴 賵丕賯毓丕 禺賵賳丿賳卮 亘乇丕賲 丕丨爻丕爻丕鬲 乇丕 讴賲丕 亘蹖卮 亘乇丕賳诏蹖禺鬲賴 賲蹖讴乇丿 賵 丕賵賳 丨爻 睾賲 乇賵 禺賵亘 丕賱賯丕 賲蹖讴乇丿.
爻禺鬲 亘賵丿 亘乇丕蹖 賴賲趩蹖賳 讴鬲丕亘蹖 趩蹖夭蹖 亘賳賵蹖爻賲 賵 爻毓蹖 讴乇丿賲 丕賵賳 丨爻蹖 讴賴 丕夭 讴鬲丕亘 诏乇賮鬲賲 乇賵 丿乇 丕蹖賳噩丕 亘賳賵蹖爻賲貙 賵 亘乇丕蹖 賳賯丿 丕蹖賳 讴鬲丕亘 丕卮禺丕氐 亘爻蹖丕乇 亘夭乇诏乇鬲乇蹖 賴爻鬲賳丿 讴賴 亘丕 丿丕賳卮 亘丕乇 賴丕 賵 亘丕乇 賴丕 丕蹖賳 丕孬乇 乇賵 丕夭 噩賳亘賴 賴丕蹖 賲禺鬲賱賮 亘乇乇爻蹖 讴乇丿賳丿.
賲賲賳賵賳 讴賴 丕蹖賳 乇蹖賵蹖賵 乇賵 禺賵賳丿蹖丿
丕蹖賱蹖丕丿 丿丕爻鬲丕賳 爻丕賱 丌禺乇 噩賳诏 鬲乇賵丌 蹖毓賳蹖 爻丕賱 賳賴賲 賵 丌禺乇蹖賳 爻丕賱 噩賳诏貙 亘乇丕蹖 讴爻丕賳蹖 讴賴 賳賲蹖丿賵賳賳丿 丕蹖賳 丿丕爻鬲丕賳 趩蹖 賴爻鬲 賵 蹖丕 讴賱蹖鬲 讴鬲丕亘 趩蹖 賴爻鬲 禺賱丕氐賴 讴賵鬲丕賴蹖 丕夭 丿丕爻鬲丕賳 乇賵 丿乇 倬丕蹖蹖賳 賲蹖賳賵蹖爻賲:
丿乇 倬蹖 噩卮賳 毓乇賵爻蹖 亘乇诏夭丕乇 卮丿賴 鬲賵爻胤 禺丿丕蹖 丌爻賲丕賳 賴丕 夭卅賵爻貙 丕乇蹖爻 丕賱賴賴 讴卮賲讴卮 賵 蹖丕 賳賮丕賯 亘賴 丕蹖賳 噩卮賳 丿毓賵鬲 賳卮丿 讴賴 禺亘 賮讴乇 賲蹖讴賳賲 亘鬲賵賳丿 丨丿爻 亘夭賳蹖丿 趩乇鬲 丿毓賵鬲 賳卮丿賴貙 倬爻 丕夭 丕蹖賳 賲賵囟賵毓 丕蹖賳 丕賱賴賴 爻蹖亘蹖 胤賱丕蹖蹖 乇賵 亘賴 丿丕禺賱 賲賴賲丕賳蹖 倬乇鬲丕亘 賲蹖讴賳賴 讴賴 乇賵蹖 丕賵賳 賳賵卮鬲賴 卮丿賴 亘乇丕蹖 夭蹖亘丕鬲乇蹖賳 夭賳貙 賵 爻賴 丕賱賴 亘丕 賳丕賲 賴丕蹖: 賴乇丕 貙 丌鬲賳賴 賵 丌賮乇賵丿蹖鬲 賴乇 爻賴 丕丿毓丕蹖 賲丕賱讴蹖鬲 亘乇 爻蹖亘 賲蹖讴賳賳丿 賵 丕夭 丕賵賳噩丕蹖蹖 讴賴 亘賴 賳鬲蹖噩賴 賳賲蹖乇爻賳丿 丕夭 夭卅賵爻 丿乇禺賵丕爻鬲 賲蹖讴賳賳丿 鬲丕 亘蹖賳 丕蹖賳 爻賴 丿丕賵乇蹖 讴賳丿 賵 丕夭 丕賵賳噩丕蹖蹖 讴賴 夭卅賵爻 丨丕賱 賵 丨賵氐賱賴 爻乇 賵 讴賱賴 夭丿賳 亘丕 丕蹖賳 爻賴 丕賱賴賴 乇賵 賳丿丕乇賴 丕蹖賳 丿丕賵乇蹖 乇賵 亘賴 倬丕乇蹖爻 夭丕丿賴 鬲乇賵丌 賵丕诏匕丕乇 賲蹖讴賳賴 賵 胤蹖 氐丨亘鬲 賴丕蹖蹖 賴乇賲爻 丕蹖賳 爻蹖亘 乇賵 亘賴 丿爻鬲 倬丕乇蹖爻 賲蹖丿賴 賵 丿丕賵乇蹖 亘蹖賳 丕蹖賳 爻賴 丕賱賴賴 乇賵 乇賵蹖 丿賵卮 丕蹖賳 賲乇丿 亘蹖賳賵丕 賲蹖匕丕乇賴. 爻賴 丕賱賴賴 亘毓丿 丕夭 卮賳蹖丿賳 丕蹖賳 賲賵囟賵毓 亘乇賴賳賴 卮丿賳丿 賵 亘賴 爻賵蹖 倬丕乇爻 乇賮鬲賳丿 賵 丕夭 丕賵 禺賵丕爻鬲賳丿 鬲丕 亘賴鬲乇蹖賳 乇賵 丕賳鬲禺丕亘 讴賳賴 賵 賴乇讴丿賵賲 乇卮賵賴 丕蹖 亘賴 倬丕乇蹖爻 倬蹖卮賳賴丕丿 丿丕丿賳丿貙 賴乇丕 倬丕丿卮丕賴蹖 丕乇賵倬丕 賵 丌爻蹖丕 貙 丌鬲賳丕 亘賴 丕賵 噩賳诏丕賵乇蹖 賵 禺乇丿 賵 丌賮乇賵丿蹖鬲 夭蹖亘丕鬲乇蹖賳 夭賳 丕爻倬丕乇鬲 蹖毓賳蹖 賴賱賳 乇賵 倬蹖卮賳賴丕丿 丿丕丿 賵 丕夭 丕賵賳噩丕蹖蹖 讴賴 倬丕乇蹖爻 賲丕 爻爻鬲 亘賵丿賴 倬蹖卮賳賴丕丿 丌賮乇賵丿蹖鬲 乇賵 賯亘賵賱 賲蹖讴賳賴 賵 丕蹖賳 賴賲賴 鬲乇丕跇丿蹖 賵 睾賲 賵 禺賵卮蹖 乇丕 丿乇 亘賴 賳丕賲 噩賳诏 鬲乇賵丌 乇睾賲 賲蹖夭賳賴貙 趩乇丕 讴賴 倬丕乇蹖爻 倬爻 丕夭 丿丕丿賳 爻蹖亘 亘賴 丌賮乇賵丿蹖鬲 丿乇 賲賴賲丕賳蹖蹖 賴賱賳 乇賵 丕夭 丿爻鬲 賴賲爻乇卮 賲賳丕賱卅賵爻 賲蹖丿夭丿賴.
禺亘 丿丕爻鬲丕賳 賵 毓賱鬲 噩賳诏 鬲乇賵丌 丕蹖賳胤賵乇蹖 卮乇賵毓 卮丿貙 丨丕賱丕 亘乇蹖賲 爻乇丕睾 丿丕爻鬲丕賳 丕氐賱蹖 讴賴 丿乇 丕蹖賳 賲賳馗賵賲賴 乇賵丕蹖鬲 賲蹖卮賴:
亘乇丕蹖 卮禺氐 賲賳 蹖讴蹖 丕夭 噩匕丕亘鬲乇蹖賳 鬲噩乇亘賴 賴丕 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 賵 蹖丕 賲賳馗賵賲賴 亘賵丿貙 丿乇诏蹖乇蹖 亘蹖賳 禺丿丕蹖丕賳貙 丕賳爻丕賳 賴丕 賵 丿禺丕賱鬲 賴丕卮賵賳 丿乇 丕賲賵乇 賴賲丿蹖诏賴 亘爻蹖丕乇 噩匕丕亘 亘賵丿貙 丨賯蹖賯鬲丕 賯亘賱 卮乇賵毓 丨爻 賲蹖讴乇丿賲 亘丕 鬲賵噩賴 亘賴 丕蹖賳讴賴 丕蹖賳 賲賳馗賵賲賴 亘丕賱丕蹖 2500 爻丕賱 倬蹖卮 爻乇賵丿賴 卮丿賴貙 賳鬲賵賳賲 亘丕賴丕卮 丕乇鬲亘丕胤 亘诏蹖乇賲 賵 禺賵賳丿賳卮 丨賵氐賱賴 爻乇 亘乇 亘丕卮賴 賵 丿乇 賵賴賱賴 丕賵賱 丕蹖賳 卮讴 賵 丕亘賴丕賲 賲賳 乇丕噩毓 丕蹖賳 丕孬乇 乇賮毓 卮丿.
卮禺氐丕 丿乇 丕丿亘蹖丕鬲 賵 讴鬲丕亘禺賵丕賳蹖 亘丕 讴鬲丕亘 賴丕蹖 丿丕爻鬲丕賳蹖 讴賴 賳亘乇丿 丿乇 丕賵賳賴丕 賵 鬲賵氐蹖賮丕鬲 賳亘乇丿 賳賯卮 亘爻夭丕蹖蹖 丿丕乇賴 賵 蹖丕 鬲賲乇讴夭 乇賵卮賵賳 賴爻鬲 亘乇丕蹖 賲賳 趩賳丕賳 噩匕丕亘 賳禺賵丕賴丿 亘賵丿 賵賱蹖 丿乇 丕蹖賳 賲賳馗賵賲賴 亘乇毓讴爻 亘賵丿貙 亘胤賵乇蹖 讴賴 丕夭 禺胤 亘賴 禺胤 丕蹖賳 賳亘乇丿賴丕 亘蹖賳 賯賴乇賲丕賳丕賳 賵 蹖丕 賱卮诏乇蹖丕賳 賵 丨鬲蹖 丿禺丕賱鬲 禺丿丕蹖丕賳 丿乇 丕蹖賳 噩賳诏 賵 丿乇 倬蹖 賴丿賮蹖 讴賴 亘賵丿賳丿 亘乇丕蹖 賲賳 亘賴 卮丿鬲 夭蹖亘丕 亘賵丿 賵 賱匕鬲 賲蹖亘乇丿賲貙 乇噩夭鈥屫堌з嗃� 賴丕 丨乇讴鬲 爻乇亘丕夭丕賳 賵 丌賲丕丿賴 卮丿賳 丌賳賴丕 亘乇丕蹖 乇夭賲.
丿乇亘丕乇賴 卮禺氐蹖鬲 賴丕蹖 賲賵乇丿 毓賱丕賯賲 亘丕蹖丿 亘賴 賴讴鬲賵乇貙 丌跇丕讴爻貙 丿蹖賵賲丿 丕卮丕乇賴 讴賳賲.
賴乇 蹖讴 丕夭 卮禺氐蹖鬲 賴丕蹖 丿丕爻鬲丕賳 賳賲丕丿蹖賳 賴爻鬲賳丿貙 亘賴 胤賵乇 賲孬丕賱 卮禺氐蹖鬲 丌诏丕賲賲賳賵賳 卮禺氐蹖鬲蹖 賲鬲讴亘乇 賵 禺賵丿亘蹖賳 讴賴 亘禺丕胤乇 賲賳丕賮毓 卮禺氐蹖 丿賱 賯賴乇賲丕賳 禺賵丿 乇丕 賲蹖讴卮賳丿 賵 賴賲蹖賳 亘丕毓孬 賲蹖卮賵丿 讴賴 賱卮诏乇卮 鬲賱賮丕鬲 夭蹖丕丿蹖 鬲丨賲蹖賱 亘卮賴 賵 鬲賮乇賯賴 亘蹖賳 賮乇賲丕賳丿賴丕賳卮 丕賮鬲丿.
亘賴 噩乇丕鬲 賲蹖鬲賵丕賳 诏賮鬲 丿乇 丌孬丕乇 睾乇亘蹖 蹖讴蹖 丕夭 丨賲丕爻蹖 鬲乇蹖賳 讴鬲丕亘 賴丕 亘賵丿貙 蹖毓賳蹖 賵賯鬲蹖 丕蹖賳 賲賳馗賵賲賴 乇賵 賲胤丕賱毓賴 賲蹖讴賳蹖賲 賲毓賳丕蹖 讴賱蹖 丨賲丕爻賴 乇賵 丿乇 賲蹖丕亘蹖賲.
賵 禺亘 賱丕夭賲 亘賴 匕讴乇 賴爻鬲 讴賴 丕蹖賳 賲賳馗賵賲賴 亘蹖 賳賯氐 賴賲 賳蹖爻鬲貙 亘丕乇 賴丕 卮丕蹖丿 乇賮鬲丕乇 賴丕蹖 讴賵丿讴丕賳賴 賵 賯賴乇 賵 丌卮鬲蹖 賴丕 賵 诏乇蹖賴 賴丕蹖 讴賵丿讴蹖 讴賴 丕爻亘丕亘 亘丕夭蹖卮 乇賵 丕夭卮 诏乇賮鬲賳丿 賳蹖夭 賴爻鬲蹖賲 讴賴 诏丕賴丕 亘丕毓孬 賲蹖卮丿 亘賴 丕蹖賳 乇賮鬲丕乇 卮禺氐蹖鬲 賴丕 亘禺賳丿賲 ...
鬲乇丕跇丿蹖 .... 丿乇 賲賵乇丿 鬲乇丕跇丿蹖 亘丕蹖丿 亘诏賲 讴賴 蹖讴蹖 丕夭 夭蹖亘丕鬲乇蹖賳 賴丕 亘乇丕蹖 賲賳 亘賵丿貙 丿賵爻鬲蹖 毓夭蹖夭 丕夭 丿爻鬲 乇賮鬲賴 賵 亘丕乇 賴丕 賵 亘丕乇賴丕 亘丕毓孬 睾賲 賵 丕賳丿賵賴蹖 噩丕賳讴丕賴 賴賲乇丕賴 亘丕 丕卮讴 賴丕蹖蹖 亘乇丕蹖 讴爻蹖 趩賵賳 亘乇丕丿乇 丕夭 丿爻鬲 乇賮鬲賴 乇賵 丿乇 丕蹖賳 丿丕爻鬲丕賳 賲蹖亘蹖賳蹖賲 讴賴 賵丕賯毓丕 禺賵賳丿賳卮 亘乇丕賲 丕丨爻丕爻丕鬲 乇丕 讴賲丕 亘蹖卮 亘乇丕賳诏蹖禺鬲賴 賲蹖讴乇丿 賵 丕賵賳 丨爻 睾賲 乇賵 禺賵亘 丕賱賯丕 賲蹖讴乇丿.
爻禺鬲 亘賵丿 亘乇丕蹖 賴賲趩蹖賳 讴鬲丕亘蹖 趩蹖夭蹖 亘賳賵蹖爻賲 賵 爻毓蹖 讴乇丿賲 丕賵賳 丨爻蹖 讴賴 丕夭 讴鬲丕亘 诏乇賮鬲賲 乇賵 丿乇 丕蹖賳噩丕 亘賳賵蹖爻賲貙 賵 亘乇丕蹖 賳賯丿 丕蹖賳 讴鬲丕亘 丕卮禺丕氐 亘爻蹖丕乇 亘夭乇诏乇鬲乇蹖 賴爻鬲賳丿 讴賴 亘丕 丿丕賳卮 亘丕乇 賴丕 賵 亘丕乇 賴丕 丕蹖賳 丕孬乇 乇賵 丕夭 噩賳亘賴 賴丕蹖 賲禺鬲賱賮 亘乇乇爻蹖 讴乇丿賳丿.
賲賲賳賵賳 讴賴 丕蹖賳 乇蹖賵蹖賵 乇賵 禺賵賳丿蹖丿
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