On the left, two heralds lead Briseis away from Achilles' tent, one grasping her by the wrist. Does this betoken her unwillingness to go? Achilles sits within his tent, and raises his hand to his head, in a gesture of ritual mourning. What do you think are the implications of this gesture? Two unnamed companions watch Achilles. One of them might be Patroclus, who was dispatched to fetch Briseis and hand her over to the heralds. What is Patroclus' relation to Achilles and why do you think he was chosen as Agamemnon's ambassador? On the other side of this cup, Briseis' arrival in Agamemnon's camp is shown, although Agamemnon himself is not depicted. Can you think of any reasons why not? To see an enlarged representation, click on the image. The vase type on which these scenes appear is a kylix. Link here for a representation of this vase shape. (From T. H. Carpenter, Art and Myth in Ancient Greece [London and New York: Thames and Hudson, 1991] #302; cf. H. A. Shapiro, Myth Into Art: Poet and Painter in Classical Greece [London and New York: Routledge, 1994] figs. 4, 5)

• The Iliad opens with a plague sent by Apollo, and a quarrel between Agamemnon and Achilles. What is the role, influence, power of women in this episode, which is related in Book I, lines 8-412, and 510-580?
• Who is Thetis, and what is her relationship to mortals on the one hands and gods on the other? Consider especially the material in Book I, lines 413-510, and 587-637.
• What is the role, function, power, and influence of the female divinities in Book I? Consider especially lines 221-261, and 638-735.

The abduction of Helen. On the left, Aeneas, the Trojan hero, leads the procession, holding his shield. Next, Paris leads Helen away, grasping her by the hand in the manner seen on the preceding vase. This gesture is typical on wedding vases, where the groom leads the bride away. Paris' shield hangs on the wall behind him. Note the chair leg on the far left, indicating that this is an interior scene. Helen occupies the center of the composition, and she is crowned by Eros (Love) flying by her head and Peitho (Persuasion) behind her. To Peitho's right stands Aphrodite, holding out her arms. (The identity of the boy on the right is unknown.) How does this scene compare with the seduction scene in Iliad Book III? Think about the differences and similarities in details, and also about what you can infer about Helen's attitude here from the character of her representation. To see an enlarged representation, click on the image. On the other side of this same vase, the meeting of Menelaus and Helen after the fall of Troy is shown. As in many representations of this scene, Menelaus draws his sword, intending to kill Helen. But, according to the legend, he caught sight of her breast and and dropped his weapon. To see the a representation of both sides of the vase from which this transcript is drawn, click here. (From T. H. Carpenter, Art and Myth in Ancient Greece [London and New York: Thames and Hudson, 1991] #293; full vase from Margaret R. Scherer, The Legends of Troy in Art and Literature [London: Phaidon Press, 1963], #23, #98)

You can read more about this vase on Perseus, and see color representations of (1) Paris abducting Helen; (2) Menelaus attacking Helen; (3) a detail of Paris and Helen.

• What is Helen's status and position among the Trojans? Consider both what others say about her and what she says about herself in Books III and in Book VI.
• What do you think is the relationship between the duel at the beginning of Book III and the love-episode at the end of it? Think about the differences and analogies between love and war, and about how women figure in each of these enterprises in the Iliad.
• What is the relationship between Helen and Paris like? How does it compare with that between Achilles and Briseis or Agamemnon and Chryseis?
• What does Menelaus say about Helen in the course of Book III? How does this compare with what Paris says about her or to her?

Hector conversing with Andromache before departing for battle. To the left of the couple are Helen and Paris, and to the right is Hector's squire, Kebriones, mounted on one horse and leading another for Hector. Paris is wearing winged shoes, presumably to indicate his arrival from the battlefield as described in Book III. Link here to see on Perseus (1) a color representation of this vase, a detail of the panel, and a drawing of the panel; (2) a detail of Helen and Paris; and (3) a detail of Hector and Andromache. (Chalcidian black-figure; Inscription painter; 540 bce). How does this scene correspond with the departure of Hector as depicted in Book VI? What is the effect of juxtaposing the two couples, and of collapsing together scenes from Books III and VI? What do you think about the differences in the representations of Helen and Andromache? (From blank, "Title," Antike Welt volume [date] page.)

• What are the various classes and groups of Trojan women to whom you are introduced in the course of Book VI? Who are they? What do they do? What is their relationship to men in the poem? What is their role and function as members of Trojan society?
• How would you characterize the relationship between Hector and Andromache? Try to think about it from the perspective of what you know so far about Homeric society, which you have seen both from the perspective of the Greek camp and the Trojan city.
• What is the function of Skamandrios (Astyanax) in the scene between Hector and Andromache? Why do you think he is brought to the wall? Would the relationship between Hector and Andromache be different if they were not the parents of Astyanax?
• Why do you think the meeting between Hector and Andromache takes place at the walls of Troy rather than in their home? Where does Hector encounter the other members of his family whom he meets in the course of Book VI? Is there any significance to their locations?

Achilles about to drag the body of Hector around the walls of Troy. As he mounts his chariot he looks back at Priam and Hecuba, and Hecuba raises her hand to her head in a gesture of mourning. Iris rushes toward Achilles, but the standing charioteer is already urging the horses on. How does this representation differ from the scene narrated in the Iliad? On the right, the image of Patroclus leaps from his tomb. What do you think this means and what do you think it adds to the composition? To see an enlarged representation, click on the image. Link here to see on Perseus (1) a color representation of this vase and a detail of Priam and Hecuba. (Boston 63.473; Attic black figure hydria; archaic; 520-510 bce).

• Compare and contrast the appeals to Hector by Priam and Hecuba in the opening section of Book XXII. How do they differ and how are they similar? Does the order in which they appear make any difference to their content? How does what each says help to characterize him or her, and how does it help you to understand the character of Hector?
• Consider the lamentations of Priam and Hecuba on pages 555-56. What does each say and how does that compare with the earlier appeal of each? Does what each says here cause you to change your mind in any way about your answer to the first question above?
• Consider Andromache's lament and the introduction to it on pages 556-58. What does this passage contribute to the characterization of Andromache and to your understanding of her relationship with Hector?
• Compare and contrast the lamentations of Andromache, Hecuba and Helen at the end of Book XXIV. How does each one add to the characterization of the figure in the Iliad? Do you find out anything here about any of them that you didn't know earlier? If so, what do you think is the significance of the postponement of the information? If not, what do you think the point is of repeating here, at this point in the poem, details that were given earlier?