Comment I would hope so (Score -1, Offtopic) 257
The shield which Hephaestus crafts for Achilles is covered in elaborate detail, depicting a wide variety of scenes, ranging from wars to farmland. The workmanship of the shield itself is such that the scenes and figures on it are described as if moving, or even alive (Chapter 18.483-608). The function of this work is not only to showcase the descriptive abilities of the storyteller, or act as a reminder of the skill of Hephaestus, but as an analogue to the action of the surrounding narrative, and give the poet an opportunity to reflect upon the nature of storytelling, using the medium of the shield itself.
The events depicted in the shield parallel many of the events in the story of the Iliad, reiterating important events and major themes. One example of this is the depictions of the two cities: one at peace and the other under siege (18.490-510). The simplest interpretation shows the peaceful city as representative of the cities of the invading Greeks, while the warring city is symbolic of Troy itself. However, at the same time, the cities together are also an analogy of the dual nature of Troy. The depiction of the warring city guarded by women and children, while the men stage an ambush, is a reminder that the soldiers on the battlefield are not the only ones who are affected by the outcome of the war; all the people of Troy are, to a degree, involved in the Trojan war (18.514-520).
But at the same time, life goes on within the walls of Troy. Everyday tasks such as weaving, still take place (3.125; 22.440). This rarely seen aspect of Troy is paralleled in the descriptions of the city at peace, and the pastoral landscape (18.491-96; 18.541-573). At the same time, neither area is completely free from conflict, in the peaceful city, two men argue over the blood-price of a dead man, while in the pastoral landscape, a pair of lions have attacked a herd of cattle (18.498-508; 18.579-586). These symbolize the omnipresent threat of violence toward the Trojan community.
The plethora of violent imagery reminds the audience of the violence of the outer narrative. In particular, the shield's ambush scene offers similarities to the rout of the Trojans to the river Xanthos (21.1-382). The appearance of Death, stained ?strong red with the men's blood,? reminds the audience of the divine influences at play in Achilles' great day of battle, and indeed in almost every battle (18.538).
Patroclus' day of battle also receives the symbolic treatment. The scene of the two lions killing a bull is symbolic of the death of Patroclus at the hands of Hector and Euphorbos (16.808-821). The two lions manage to take down a bull at the head of a herd of cattle, and fight with the shepherds and their dogs over the possession of the body (18.579-86). This closely mirrors the wounding of Patroclus, leading a charge to the walls of Troy, at the hands of Euphorbos, and his death by Hector, and the ensuing struggle between the Trojans and the Greeks over the body(16.808-821; 17).
More subtle forms of conflict play a no less valuable role in the meaning of the shield. The argument depicted on the shield parallels the relationship between Agamemnon and Achilles. While one man has offered to pay the blood-price for a murdered man, the other refuses to accept it (18.497-508). This is reminiscent of the dispute between Agamemnon and Achilles However, instead of a dead man, they are in conflict over the honor of Achilles. Just as Achilles refuses to allow Agamemnon, to place a price on his honor, though offering him a reward to return to the fighting, despite the fact that Agamemnon slighted his pride, the man in the shield will not accept a price on the dead man (9.375-6).
The imagery of Achilles shield deals with more than violence and warfare. The description of the shield is bookended by descriptions of globally spanning, or cosmic items, such as the heavens, or the ocean (18.483-489; 18.606). By surrounding the description of the shield in cosmic imagery, Homer provides the shield as a representation of all which lies beneath ?the tireless sun and, the moon waxing into her fullness (18.484).? The juxtaposition of the creations of humanity, such as cities and farms, with the creations of the gods, such as the sky and earth, reminds the listener of the relatively small role humans play in the grand scheme of the universe. This is mirrored in the narrative by the ease with which gods can decide which cities will survive or be destroyed (4.51-54).
In turn, the inclusion of the city at peace and the pastoral landscapes serve a similar purpose in the context of human society (18.541-78). They remind the audience that while violence may be a constant, as the argument in the city and the attacking lions suggest, warfare still composes only a small part of Greek society. The majority of life consists of simple and relatively unglorified pursuits such as farming. He takes care to emphasize many of the common pleasures of life such as festivals and dancing, reminding the audience that peace is not without its benefits (18.490-91; 18.594-602).
As well as a mirror for the narrative itself, the shield is also reflective of Homer's view of his role as a poet in Greek society. In the time of Homer, the basic story of the Iliad was widely known. Similarly, the basic form of a shield is widely produced and unremarkable. What distinguishes Achilles' shield from other shields, and makes it unique is the elaboration upon a basic form. Similarly, the role of a bard is not simply repeat the story which the listeners are already familiar with, but to flesh out and elaborate upon the basic narrative framework. This, notable attention to detail is most graphically displayed in the descriptions of warfare. For example, rather than simply saying ?he was stabbed,? Homer prefers phasing such as:? ...he stabbed with his sword at the liver\ so that the liver was torn from its place, and from it the black blood drenched the fold of his tunic (20.469-71)...? These extra details are what make the Iliad entertaining, and more than a simple outline of events.
Homer's likening himself to a metalsmith, is particularly appropriate. The smith occupies an unusual role in warfare, while he is necessary to wage war, he is not an active participant in the war itself. Similarly, the storyteller is often not a participant in the events he is describing.
Oh god, I can't carry on like this anymore. Please come back to me baby, there's nothing left here without you. You were my only hope, my salvation. You understood me, loved me like I've never been loved by anyone. I can't believe what we had all those years were undone in a few terrible hours. I never meant to hurt you, I was just so frustrated and angry, not at you, but at my own weakness. I know I've done things, been unfaithful, God what a damn idiot I've been, but I promise I'll change, I'll join promise keepers, AA, I'll make it up to you and more. You deserve so much better, and I want to be that prince in shining armor you've always dreamed about. I can't bear going on without you, you're my only light and heaven. Life is cold, meaningless and cruel away from you. I don't know what to do anymore.
Last night, I went for a walk on the bridge, and I found myself looking over the edge into the water 100 feet below, and wondering what it would be like to jump. I'm so scared what I might do to myself, I've never been so afraid. I don't think I'm in control anymore. I'm so scared. I miss you so much.
Please come back. Please. I'm lost. I'm so scared. Please.
The events depicted in the shield parallel many of the events in the story of the Iliad, reiterating important events and major themes. One example of this is the depictions of the two cities: one at peace and the other under siege (18.490-510). The simplest interpretation shows the peaceful city as representative of the cities of the invading Greeks, while the warring city is symbolic of Troy itself. However, at the same time, the cities together are also an analogy of the dual nature of Troy. The depiction of the warring city guarded by women and children, while the men stage an ambush, is a reminder that the soldiers on the battlefield are not the only ones who are affected by the outcome of the war; all the people of Troy are, to a degree, involved in the Trojan war (18.514-520).
But at the same time, life goes on within the walls of Troy. Everyday tasks such as weaving, still take place (3.125; 22.440). This rarely seen aspect of Troy is paralleled in the descriptions of the city at peace, and the pastoral landscape (18.491-96; 18.541-573). At the same time, neither area is completely free from conflict, in the peaceful city, two men argue over the blood-price of a dead man, while in the pastoral landscape, a pair of lions have attacked a herd of cattle (18.498-508; 18.579-586). These symbolize the omnipresent threat of violence toward the Trojan community.
The plethora of violent imagery reminds the audience of the violence of the outer narrative. In particular, the shield's ambush scene offers similarities to the rout of the Trojans to the river Xanthos (21.1-382). The appearance of Death, stained ?strong red with the men's blood,? reminds the audience of the divine influences at play in Achilles' great day of battle, and indeed in almost every battle (18.538).
Patroclus' day of battle also receives the symbolic treatment. The scene of the two lions killing a bull is symbolic of the death of Patroclus at the hands of Hector and Euphorbos (16.808-821). The two lions manage to take down a bull at the head of a herd of cattle, and fight with the shepherds and their dogs over the possession of the body (18.579-86). This closely mirrors the wounding of Patroclus, leading a charge to the walls of Troy, at the hands of Euphorbos, and his death by Hector, and the ensuing struggle between the Trojans and the Greeks over the body(16.808-821; 17).
More subtle forms of conflict play a no less valuable role in the meaning of the shield. The argument depicted on the shield parallels the relationship between Agamemnon and Achilles. While one man has offered to pay the blood-price for a murdered man, the other refuses to accept it (18.497-508). This is reminiscent of the dispute between Agamemnon and Achilles However, instead of a dead man, they are in conflict over the honor of Achilles. Just as Achilles refuses to allow Agamemnon, to place a price on his honor, though offering him a reward to return to the fighting, despite the fact that Agamemnon slighted his pride, the man in the shield will not accept a price on the dead man (9.375-6).
The imagery of Achilles shield deals with more than violence and warfare. The description of the shield is bookended by descriptions of globally spanning, or cosmic items, such as the heavens, or the ocean (18.483-489; 18.606). By surrounding the description of the shield in cosmic imagery, Homer provides the shield as a representation of all which lies beneath ?the tireless sun and, the moon waxing into her fullness (18.484).? The juxtaposition of the creations of humanity, such as cities and farms, with the creations of the gods, such as the sky and earth, reminds the listener of the relatively small role humans play in the grand scheme of the universe. This is mirrored in the narrative by the ease with which gods can decide which cities will survive or be destroyed (4.51-54).
In turn, the inclusion of the city at peace and the pastoral landscapes serve a similar purpose in the context of human society (18.541-78). They remind the audience that while violence may be a constant, as the argument in the city and the attacking lions suggest, warfare still composes only a small part of Greek society. The majority of life consists of simple and relatively unglorified pursuits such as farming. He takes care to emphasize many of the common pleasures of life such as festivals and dancing, reminding the audience that peace is not without its benefits (18.490-91; 18.594-602).
As well as a mirror for the narrative itself, the shield is also reflective of Homer's view of his role as a poet in Greek society. In the time of Homer, the basic story of the Iliad was widely known. Similarly, the basic form of a shield is widely produced and unremarkable. What distinguishes Achilles' shield from other shields, and makes it unique is the elaboration upon a basic form. Similarly, the role of a bard is not simply repeat the story which the listeners are already familiar with, but to flesh out and elaborate upon the basic narrative framework. This, notable attention to detail is most graphically displayed in the descriptions of warfare. For example, rather than simply saying ?he was stabbed,? Homer prefers phasing such as:?
Homer's likening himself to a metalsmith, is particularly appropriate. The smith occupies an unusual role in warfare, while he is necessary to wage war, he is not an active participant in the war itself. Similarly, the storyteller is often not a participant in the events he is describing.
Oh god, I can't carry on like this anymore. Please come back to me baby, there's nothing left here without you. You were my only hope, my salvation. You understood me, loved me like I've never been loved by anyone. I can't believe what we had all those years were undone in a few terrible hours. I never meant to hurt you, I was just so frustrated and angry, not at you, but at my own weakness. I know I've done things, been unfaithful, God what a damn idiot I've been, but I promise I'll change, I'll join promise keepers, AA, I'll make it up to you and more. You deserve so much better, and I want to be that prince in shining armor you've always dreamed about. I can't bear going on without you, you're my only light and heaven. Life is cold, meaningless and cruel away from you. I don't know what to do anymore.
Last night, I went for a walk on the bridge, and I found myself looking over the edge into the water 100 feet below, and wondering what it would be like to jump. I'm so scared what I might do to myself, I've never been so afraid. I don't think I'm in control anymore. I'm so scared. I miss you so much.
Please come back. Please. I'm lost. I'm so scared. Please.
