Iliad SparkNotes Literature Guide: Volume 35 (SparkNotes Literature Guide Series)

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The 1954 Broadway musical The Golden Apple, by librettist John Treville Latouche and composer Jerome Moross, was freely adapted from the Iliad and the Odyssey, re-setting the action to America's Washington state in the years after the Spanish–American War, with events inspired by the Iliad in Act One and events inspired by the Odyssey in Act Two. Porter, John. The Iliad as Oral Formulaic Poetry (8 May 2006) University of Saskatchewan. Retrieved 26 November 2007.

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Scepticism is as much the result of knowledge, as knowledge is of scepticism. To be content with what we at present know, is, for the most part, to shut our ears against conviction; since, from the very gradual character of our education, we must continually forget, and emancipate ourselves from, knowledge previously acquired; we must set aside old notions and embrace fresh ones; and, as we learn, we must be daily unlearning something which it has cost us no small labour and anxiety to acquire. Murray, A. T.; Wyatt, William F., Homer: The Iliad, Books I–XII, Loeb Classical Library, Harvard University Press, 1999, ISBN 978-0-674-99579-6The opera King Priam by Sir Michael Tippett (which received its premiere in 1962) is based loosely on the Iliad. The gods deliberate over whether the war should end here, but Hera convinces Zeus to wait for the utter destruction of Troy. Athena prompts the Trojan archer Pandarus to shoot Menelaus. Menelaus is wounded, and the truce is broken. Fighting breaks out, and many minor Trojans are killed. A blending of popular legends, and a free use of the songs of other bards, are features perfectly consistent with poetical originality. In fact, the most original writer is still drawing upon outward impressions--nay, even his own thoughts are a kind of secondary agents which support and feed the impulses of imagination. But unless there be some grand pervading principle--some invisible, yet most distinctly stamped archetypus of the great whole, a poem like the Iliad can never come to the birth. Traditions the most picturesque, episodes the most pathetic, local associations teeming with the thoughts of gods and great men, may crowd in one mighty vision, or reveal themselves in more substantial forms to the mind of the poet; but, except the power to create a grand whole, to which these shall be but as details and embellishments, be present, we shall have nought but a scrap-book, a parterre filled with flowers and weeds strangling each other in their wild redundancy: we shall have a cento of rags and tatters, which will require little acuteness to detect.

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Flood, Alison (20 October 2011). "TS Eliot prize 2011 shortlist revealed". The Guardian. London . Retrieved 1 June 2012.Few modern (archeologically, historically and Homerically accurate) reconstructions of arms, armor and motifs as described by Homer exist. Some historical reconstructions have been done by Salimbeti et al. [44] Influence on classical Greek warfare [ edit ] Mary Lefkowitz (2003) [7] discusses the relevance of divine action in the Iliad, attempting to answer the question of whether or not divine intervention is a discrete occurrence (for its own sake), or if such godly behaviors are mere human character metaphors. The intellectual interest of Classic-era authors, such as Thucydides and Plato, was limited to their utility as "a way of talking about human life rather than a description or a truth", because, if the gods remain religious figures, rather than human metaphors, their "existence"—without the foundation of either dogma or a bible of faiths—then allowed Greek culture the intellectual breadth and freedom to conjure gods fitting any religious function they required as a people. [7] [8] Bruce B. Lawrence and Aisha Karim (2008). On Violence: A Reader. Duke University Press. p.377. ISBN 978-0-8223-3769-0.