ricardienne: (christine)
I'm reading Vicky Alvear Shechter's CLeopatra's Moon, yet another YA novel about Cleopatra Selene (daughter of THE Cleopatra), because we aren't ever going to get *good* Roman-world YA novels unless people demonstrate that they read even the terrible ones. (No, I am not really deluded into thinking that my library account does anything in this regard.)

It's really bad, though. There was a really awful scene where the main character goes to a synagogue in Alexandria and debates a Rabbi (nb it's clear Shecter has forgotten that Judaism was a sacrifice-religion at this point.) about free will and the role of women in the Edenic fall, and ZOMG totally stumps him wow!1!. And just. You know, if this guy supposedly hangs out with the scholars in the Library of Alexandria, I'm thinking he would be able to explain the philosophical principles of his religion to an 8-year-old.

Of course, Cleopatra's Greek tutor appears not to have read Homer, let alone be aware of, oh I don't know, the philosophical and scholarly work that was the WHOLE POINT OF THE LIBRARY, so maybe it isn't strange that Mr Rabbi has gotten complacent.
"And what does our Greek heritage say?" Euphronius asked us.
"That we cannot outrun our fates," I answered. "Hubris, the great crime against the gods, was thinking that we could. And hubris took down even the best of men, like Achilles and Oedipus." (p. 30)

"Now, Euphronius continued, "how can Achilles' great rage be the fulfillment of the will of Zeus?"
"Because everything that happens, even bad things, must be the will of the gods, otherwise they would not happen," Alexandros said after our tutor called on him.
"Yes."
...
"Euphronius turned to me. "And what happens when humans try to escape their fates?"
"They either end up dead like Achilles or blind like Oedipus," said Euginia.
"Yes. Now let us look a little closer at what we really mean by hubris...," Euphorion continued. (p. 36-7)


I mean, I know that it's probably not fair to expect a YA novel to represent the past at this level of detail, but I will point out that we do actually know a lot about the standard schoolroom exegesis of Homer in antiquity! A correct answer to the first question, as it happens, would be "Because, as the Cypria tells us, the Trojan War was Zeus's plan for ridding the world of surplus population, and the death among the Greeks caused by Achilles' quarrel with Agamemnon served that plan." (I'm not saying that it's a particularly brilliant interpretation, but that's ancient primary school for you!)

But I really object this claim that's she's had them make twice, Achilles' death is somehow caused by his attempt to circumvent fate and that this demonstrates that mortals have no free will (apart from the fact that being punished for attempting to oppose the will of the gods kind of *does* imply free will. But let's ignore that for now). Um, have you read the Iliad, Vicky Shecter? You know that part where Thetis tells Achilles that he has two possible fates: to go home and live a long life in Phthia without glory, or to die young in battle and win kleos aphthiton? I suppose you could make the argument that Patroclus dies as punishment for Achilles' contemplation of the former choice. But ultimately, Achilles very definitely chooses the latter. And he dies in battle, through some fairly dodgy divine machinations, but in no way as the result of having "tried to escape his fate".

And I'm not even going to rant about this bizarre, reductive, and completely wrong definition of hubris. ARGH ARGH ARGH PEOPLE ARE BEING WRONG ABOUT THINGS I KNOW THINGS ABOUT.
ricardienne: (library)
νῦν δ᾽ ἄγ᾽ ἀείδοντες παιήονα κοῦροι Ἀχαιῶν
νηυσὶν ἔπι γλαφυρῇσι νεώμεθα, τόνδε δ᾽ ἄγωμεν.
ἠράμεθα μέγα κῦδος: ἐπέφνομεν Ἕκτορα δῖον

But come now, Achaean youths, singing the paeon
let us go to the hollow ships, let us convey him.
We achieved great glory: we slew divine Hektor
(Il. 22.391-3)

This means that according to Achilles' command the warriors are to bring the slain enemy to the camp in a victory procession and with a victory-song. With line 393, Achilles gives them the theme for their song, that is, they are to sing, at his pleasure, something like what some non-combatant back home could have said during the World War: we have conquered the Russians at Tannenberg, we took prisoners, he have brought enemies, guns, etc. to nought, and so on. Here, as in the lines of Homer, the speaking person or persons are not actively, but only emotionally sharking in the action. Due to shared communal feeling, which here bids together army and home, there prince and warriors, it situates itself sociatively. But a special refinement seems to me to lie in that the hero, who completed the deed alone, calls on his men to sing in the sociative mode; this especially shows us Achilles as a collectivist and socially-conscious man...

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