Power of Fate in Ancient Rome In Greek and Roman literature, the power of fate enforced by the gods and goddesses played a major role in the legendary stories and plays still present today. Roman and Greek gods believed in fate and interventions, predetermined lives in which the individual had no control over their own destiny. Gods and goddesses ultimately had the power to change both Aeneas’s and Lucius’s fate, despite their actions. Their alliances drove the actions of these ancient texts, taking extraordinary measures in order to see their wishes achieved. The Golden Ass and The Aeneid are two examples in which we can see these powers come to life, and will further explore the similarities present in both texts.
In Iliad, the first revenge action was made by Menelaus, the king of Sparta. He enraged and decided to take a revenge from the Trojans, because of loss of his wife, Helen. When he went to war, plenty of his companions joined him, such as Achilles, the leader of the Myrmidons, Odysseus, the king of Ithaca, Ajax the Greater, the king of Salamis, etc. After that, in book 16, Achilles lends Patroclus his armor, sends him off with a stern admonition to not to pursue the Trojans. However, Patroclus ignoring Achilles’ command, pursues and reaches the gates of Troy and is killed by Hector.
Antigone: Gods’ Rule Over Law The ancient Greek play of Antigone includes many instances of great opposition. Between the characters of Creon, the wartime ruler of Thebes, and Antigone, Creon’s step-daughter, there is a struggle for the ruling of whether Antigone’s traitor brother would ultimately be buried or let out for nature to take care of the body. I agree with Antigone to have her brother, Polyneices, buried at the Gods’ will. The beginning of the play in scene one of Antigone starts out with Antigone and her sister, Ismene, speaking about the deaths out their brothers. Antigone reveals to the audience that her brother, Eteocles, fighting with the city of Thebes, was to be buried with full military honors and her other brother invading Thebes was to be left unburied.
However, later in life Achilles accepts his fat and realized the fact that death is inevitable. Gilgamesh, on the other hand, fears death. Also, Achilles believed that it death is not worthy as dying with glory in a battle, while Gilgamesh always fears death as he thought it will not let him find the glory in battle. Another difference is the way in which they both depict the women in the stories. In Gilgamesh, Shamash, a temple prostitute is introduced and sent to sleep with Enkidu.
In the book it was stated that Antigone felt very strongly about burying her brother no matter what Creon said. In the text after the play it is written by senior editor Paul Moliken that “When Creon Forbids the burial of Polyneices, he is denying Antigone the opportunity to perform one of the most significant duties that Greek society allowed for women. Thus, he is attacking her identity, and that is a part of the reason she opposes his orders” (Sophocles 67). This is significant because it shows why Creon was
The Roman Empire was built on the pietas of its people, which was highlighted by Virgil in “Aeneid” through the character of Aeneas. Virgil provided several examples of this powerful virtue throughout “Aeneid”, but as our texts progress through the semester the authors began to realize that the Romans had become envious of one another. The Roman Empire started on strong foundation of virtues, with pietas being the strongest layer. Through centuries of erosion this foundation began to crumble and moral decay brought this might empire to its knees. Some will argue that foreign invaders simply defeated the Roman Empire, while that is true; the real reason is the moral decay or the loss of pietas that allowed these armies to invade.
Roman heroes must cope with obstacles that are set before him by opposing forces, whether they be man or god. He is also aided in his journey by his patron god or goddess and his deceased relatives. The Virgilian hero, according to Rosenberg, represents the forces of order, self-discipline, rational thinking, and constructive behavior. On the other hand, the non-Virgilian hero acts as a deterrent using the forces of disorder, passion, irrational thinking, and violence (p. 259). He is hindered along the way by Juno, the sea, a passionate woman, another storm, and Juno again by influencing the people of Latium.
When a god or goddess tells Aeneas to do anything, he does it, regardless of how it impacts those he cares about. A prime example is when he falls in love with Dido. He had begun to build his life with Dido, yet once Mercury asks him: “What do you have in mind? What hope, wasting your days / In Libya” (4.369-370) Aeneas almost immediate makes plans to leave for Italy (4.393-395). He unquestionably obeys, despite how he wants to stay and how it will hurt Dido.
The Iliad by Homer The Iliad was a really good representation of the chaotic war-torn times of the area surrounding the Mediterranean Sea; this includes the countries Rome and Greece. It was a time where nations were trying to expand their power and influence and warriors were claiming their spoils of war. I mean the beginning of book I of The Iliad, Achilles and Agamemnon are arguing over the rewards and the spoils of war. Agamemnon didn’t want to give up his prize girl Chryses in order to please the God Apollo and stop the plague and the rain of arrow falling from Olympus. However, in the end Agamemnon took Achilles’ girl, Briseis, which really hurt Achilles in the end.
Although The Iliad is known as an epic poem, the poem contrasts the conflict of war as the sole method to further understand wisdom in humanity. From the grief of the Greeks and the Trojans comes greater understanding of the price of war. According to “The Type of Stories Chart” the epic poem is categorized as a success story of Greeks in the Trojan war, but the poem sobers the success of the Greeks with the constant reminder of death in war. In