Essential Question: What is the Role of Women in the Iliad? Note taking Activity

1. Monday, March 12thRH.9-10.1. Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.RH.9-10.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text Essential Question: What is the Role of Women in the Iliad? • Note taking Activity • Reading Time: Assigned Literature Groups: Book 6 • Complete Character Worksheet and Vocabulary Word Search • Need Help: • Character Search: • http://www.users.globalnet.co.uk/~loxias/iliad/iliadstart3.htm • Assigned Literature Circles: • Complete Summaries/Questions for Books 6 • Group #1: Peter, Linda, Catherine, Monica • Group #2: Cierra B, Jarrett, Solomon, Brandon • Group #3: Noah, Winta, Desmond, Stella • Group #4: Victoria, Asia, Sohrin , Marcus, Cierra R Hand back Student Folders: Pass out work Metacognition: Reflect, What could I do this 9 weeks to make my grade better Discussion / Quick Write: Timeline of what has happened in the books 1 -5 So Far

2. Bookshelf Linda Monica Jarrett Brandon Front of the Room Peter Cierra B Catherine Solomon Stella Winta Sohrin Victoria Bookshelf Marcus Asia Noah Cierra R Entrance Desmond

3. Monday, March 12thRH.9-10.1. Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.RH.9-10.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text Essential Question: What is the Role of Women in the Iliad? • Note taking Activity • Reading Time: Assigned Literature Groups: Book 6 • Complete Character Worksheet and Vocabulary Word Search • Need Help: • Character Search: • http://www.users.globalnet.co.uk/~loxias/iliad/iliadstart3.htm • Assigned Literature Circles: • Complete Summaries/Questions for Books 6 • Group #1:Aamira, Kristen, Chanese, Thomas • Group #2: Bria, Ari, Raafay, Justin • Group #3: Daijah, Roneisha, Hannah, Morgan • Group #4: Scotsia, Josh,Exeria, Maria, Deon Discussion / Quick Write: Hand back Student Folders: Pass out work Metacognition: Reflect, What could I do this 9 weeks to make my grade better Timeline of what has happened in the books 1 -5 So Far

4. Bookshelf Kristen Thomas Ari Front of the Room Amaria Raafay Chanese Bria Justin Daijah Hannah Bookshelf Exeria Roneisha Maria Scotsia Morgan Entrance Deon Josh

5. What is the subject of this epic poem as suggested by the opening line? Rage—Goddess, sing the rage of Peleus’ son Achilles, murderous, doomed, that cost the Achaeans countless losses, hurling down to the House of Death so many sturdy souls, great fighters’ souls, but made their bodies carrion, feasts for the dogs and birds, and the will of Zeus was moving toward its end. Begin, Muse, when the two first broke and clashed, Agamemnon lord of men and brilliant Achilles.

6. Explanation • The first lines of an ancient epic poem typically offer a capsule summary of the subject the poem will treat, and the first lines of The Iliad conform to this pattern. • Homer announces his subject in the very first word of the very first line: “Rage.” • He then locates the rage within “Peleus’ son Achilles,” delineates its consequences (“cost the Achaeans countless losses . . .”), links it to higher forces and agendas (“the will of Zeus”), and notes its origin (when “the two first broke and clashed, / Agamemnon . . . and brilliant Achilles”). • these lines focus on a human emotion, • they interpret this emotion as unfolding in accordance with the expression of Zeus’s will. • Similarly, Homer conceives of the entire epic as the medium through which a divine being—a Muse—speaks.

7. Homeric epic’s tripartite structure • The Iliad Plot point 1: the quarrel between Achilles and Agamemnon, who takes away his concubine (Books 1-16). Secondary plot point: the embassy to Achilles Plot point 3: the death of Patroklus (Achilles avenges him and abandons his anger).

8. Time frame of the Iliad • The entire span of the epic is 51 days, but almost the entire poem is devoted to 4 days (Books 3-22).

9. Narrative Units • Invocation: “The Anger of Achilles” (1.1-7) • Homer places the theme before us, in fact, in the first word. • He begins not such much in medias res but at the beginning of his story (the anger).

10. “Ransom of Chryseis” (1.8-611) • Key concepts to know: geras (prize; visible representation of personal honor). time (honor, value, worth) kleos (immortal glory) menis (superhuman rage)

11. What sets off the quarrel? • Book 1.1-300: one of the greatest action sequences in literature. Homer defines the story of the double-bind, or Catch-22: no matter which way a character turns, he is ruined.

12. Motif: the helpful mother • No common goal can overcome individual conflict. • To whom does Achilles turn for help?

13. “The False Dream” (2.1-210) • Direction of action changes completely. • The sequence that follows Achilles’ withdrawal must show how Zeus brought the Achaians defeat (his promise to Thetis). • Homer now gives us the “story of the Trojan War” - the sequence of scenes gives us the sense that time is passing & things are happening as Achilles sits out the fighting.

14. Agamemnon’s Foolish Plan • Why does Agamemnon tell his troops that they will never conquer Troy? • What happens then? • Anti-war themes in Greek warrior culture • Who retrieves the situation? • What does the Thersites scene do for the narrative?

15. “Helen on the Wall” (3.121-244) • Before the armies clash, we now meet Hektor, the major Trojan hero, who proposes a duel between Menelaos and Paris (belongs to first year of war) • Helen goes out to watch from the walls.

16. The Teikhoskopia • Helen joins the gathered Trojan elders on the walls. • Kindly Priam reassures her, then asks her to identify the Greek heroes below. This action belongs to the first year of the war, also. • Menelaos is beating Paris when Aphrodite spirits him away, forces Helen to go to him.

17. “Glory of Diomedes” (4.364-5.909) In book 5, Diomedes has what is called an aristeia. What special power, granted by the goddess Athena, helps him? In giving Diomedes this power, Athena also stipulates what caveat to its use, and what exception? • First major fighting sequence features Diomedes. • Homeric fighting - between individual heroes. The hero kills and gets the time. • aristeia: a sequence of scenes glorifying a hero (moment of excellence).

18. 3. What other god is wounded and what happens to him? 4 . What are the major differences between a wounded god and a human fighter who is wounded?

19. Answer: Ares • Ares voices this lament after being wounded by Diomedes in Book 5. • Homeric gods frequently intervene in the mortal world out of some kind of emotional attachment to the object of that intervention. • Here, Ares describes this emotion as simply a desire to do “kindness,” but kindness toward one mortal often translates into unkindness toward another—hence Ares’ wound at the hands of Diomedes. • Divine intervention in The Iliad causes conflicts not only in the mortal sphere but between the gods as well. Each god favors different men, and when these men are at war, divine wars often rage as well. • Ares thus correctly attributes the gods’ “chilling blows” to their “own conflicting wills

20. More… • Ares’ whining does not make him unique among the gods. Homer’s immortals expect to govern according to their wills, which are in turn governed by self-interest. • they complain when they do not get their way. • Ares’ melodramatic and self-pitying lament, which is greeted with scorn by Zeus a few lines later, probably implies some criticism of the gods by Homer. • Ares’ appearance here as a kind of spoiled child provides just one example of Homer’s portrayal of the gods as temperamental, sulky, vengeful, and petty—a portrayal that may seek to describe and explain the inequities and absurdities in life on earth.

21. Narrative Pattern • The story is supposed to be telling us how the Trojans defeated the Achaians by the will of Zeus and request of Achilles, but in fact the Greek heroes are driving back the Trojans. Probably shows influence of rich tradition of tales telling of Achaian victories, and a poor tradition of telling of Trojan.

22. Dying enemies • Homer tells us, as each man dies, enough about him to make us feel the pathos of his death. • This engages readers and makes them appreciate the human cost of war.

23. “Hektor and Andromache” (6.237-529) • Shows us life in the Trojan city • Shows us Hektor as brother, son, brother-in-law and husband (not just warrior). • Reminds us what is at stake. • Gender roles: “I have learned to fight in the forefront of battle” • Hektor must fight, no matter the consequences.

24. Women as Delayers • Women seek to delay Hektor Hecuba - wine Helen - seat in women’s quarters Andromache - for my sake, don’t go out and fight again. The scene of Hektor and Andromache at the Skaian Gate is one of most famous in literature.

25. The family scene of Hektor, Andromache and Astyanax is contrasted with the fruitless union of Paris and Helen - built on lust, it leads nowhere but to death. Their selfishness and enslavement to personal pleasure will bring the doom of city and Trojans.

26. “The Duel Between Hektor and Ajax” • The first day of fighting hasn’t yet finished when Hektor returns to the plain with Paris. • At Apollo’s instigation, Hektor suddenly issues a challenge to duel • Ajax wins the lot. • Duel is stylized: verbal insults, javelins, stones; duel is stopped before swordfight. • Nestor asks for truce for collection of dead; recommends the Achaians built a wall before the ships (1st year of war). • Trojan council recommends Paris return Helen and treasure; he refuses to give back Helen

27. “Trojans Triumphant” (Book 8) • Homer needs to prepare for the midpoint of the plot, the embassy to Achilles, so we need to see the Greeks in deep trouble to motivate it. • Zeus sends bolts to frighten Achaians, even so, they rally. • Zeus forbids other gods to interfere; makes prophecy which keeps our minds on the master plan.

28. Tuesday, March 13thRH.9-10.1. Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.RH.9-10.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text Essential Question: What is the Role of Women in the Iliad? • Reading Time: Book 6-7 • Assigned Literature Circles: • Complete Summaries/Questions for Books 6-7 Discussion / Quick Write: What is the Role of Women in the Iliad?

29. Wednesday, March 14thRH.9-10.1. Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.RH.9-10.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text Essential Question: How does the Iliad reflect Greek Culture? • Reading Time: Book 7-8 • Assigned Literature Circles: • Complete Summaries/Questions for Books 7-8 Discussion / Quick Write: What does Achilles give up?

30. Achilles' Mother’s Words: • Cattle and fat sheep can all be had for the raiding,
tripods all for the trading, and tawny-headed stallions.
But a man’s life breath cannot come back again— 
. . .
Mother tells me,
the immortal goddess Thetis with her glistening feet,
that two fates bear me on to the day of death.
If I hold out here and I lay siege to Troy,
my journey home is gone, but my glory never dies.
If I voyage back to the fatherland I love,
my pride, my glory dies. . . .

31. With these words in Book 9, Achilles rejects the embassy of Achaean commanders come to win him back to the war effort. • He doesn’t like Agamemnon but there is more… • Achilles also fears the consequences in store for him if he remains in Troy. • His mother, Thetis, has told him that fate has given him two options—either live a short but glorious life in Troy or return to Phthia and live on in old age but obscurity. • As he confronts this choice, the promise of gifts and plunder—cattle, fat sheep, stallions—doesn’t interest him at all. Such material gifts can be traded back and forth, or even taken away, as his prize Briseis was. • In contrast, the truly precious things in the world are those that cannot be bought, sold, seized, or commodified in any way. These include glory and life itself. • The choice that Achilles must make in this scene is between glory and life; it is not merely a matter of whether to accept the gifts or to continue protesting Agamemnon’s arrogance. At this point in the epic, Achilles has chosen life over glory, and he explains that he plans to return to Phthia. • However, the allure of glory later proves irresistible when he finds a compelling occasion for it—avenging the death of his beloved friend Patroclus.

32. Thursday, March 15thRH.9-10.1. Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.RH.9-10.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text Essential Question: How does the Iliad reflect Greek Culture? • Reading Time: Book 8 • Assigned Literature Circles: • Complete Summaries/Questions for Books 8 • All questions due by the end of class today Discussion / Quick Write: Interpret this quote: “There is nothing alive more agonized than man
of all that breathe and crawl across the earth”.-Zeus How would the war have gone without the intrusion of the Gods? Shorter, Longer? Who would have won?

33. There is nothing alive more agonized than man
of all that breathe and crawl across the earth.-It is thus appropriate that the above lines are spoken by a god, and not by a mortal character or the mortal poet; the gods know the mortals’ agony, as they play the largest role in causing it. • Zeus speaks these words to the horses of Achilles’ chariot, who weep over the death of Patroclus in Book 17. • Homeric view of the human condition: • Throughout The Iliad, as well as The Odyssey, mortals often figure as little more than the playthings of the gods. Gods can whisk them away from danger as easily as they can put them in the thick of it. • While gods can presumably manipulate and torment other animals that “breathe and crawl across the earth,” • humanity’s consciousness of the arbitrariness of their treatment at the hands of the gods, their awareness of the cruel choreography going on above, increases their agony above that of all other creatures. • For while the humans remain informed of the gods’ interventions, they remain powerless to contradict them. • Moreover, humans must deal with a similarly fruitless knowledge of their fates. • The Iliad’s two most important characters, Achilles and Hector, both know that they are doomed to die early deaths. Hector knows in addition that his city is doomed to fall, his brothers and family to be extinguished, and his wife to be reduced to slavery. These men’s agony arises from the fact that they bear the burden of knowledge without being able to use this knowledge to bring about change.

34. Friday, March 16thRH.9-10.1. Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information.RH.9-10.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text Essential Question: How does the Iliad reflect Greek Culture? • Choose your own assessment: • Student will choose 2 • Assessments of there own • These are poetry, artistic • Renderings, drama • interpretations, etc Discussion / Quick Write: Notebook Test