REPRESENTATION OF HOMOSEXUALITY IN THE SONG OF ACHILLES

Introduction

In this essay, there will be analysis of the characteristics of two characters and their dynamic from the Iliad and a myth retelling, The Song Of Achilles to show the differences and accuracy of using it as a source material for understanding greek mythology along with possible problematic natures of the myth retelling in the perspective of a western, individualistic society. The first part of this essay will focus on The Iliad by Homer and begin with the characterisation of Achilles and Patroclus in that order then the dynamic overall. This will repeat for The Song Of Achilles by Madeline Miller part of the essay but will more so focus on the differences.

The Main Characters: Achilles and Patroclus

When we first look into the Iliad we see two characters that stand out the most either it be for their ‘homosexual’ nature in such an ancient time or their sheer presence and those two characters are the Achaean heroes: Patroclus, son of Monoetius and Achilles, son of Peleus. As they are represented in the poems as the ‘main characters’ it is important for not only historical purposes but also literate ones to understand their characters and translate them into a way they can educate the modern audiences, this is why The Song Of Achilles by Madeline Miller can not be considered an accurate piece of creation in records to the context behind, making the popularity and fandom [1]harmful to history. Before I go into the characteristics presented by Madeline Miller, I will look into the Iliad.

The Iliad By Homer

Achilles’ Character in the Iliad

In the Iliad, we are first introduced to Achilles in the first page with the words ‘that accursed anger, which brought the Greeks endless sufferings…It all began when Agamemnon, lord of men and godlike Achilles quarrelled and parted.’[2] This prologue foreshadows the plot but also the importance of Achilles' character in the Iliad and myth of the Trojan war by using the epithet ‘godlike’ - Achilles was as powerful as a god, one worshipped for centuries before his own existence , Homer tried to show that even when Achilles acts mortal in his ways he is still and always will be ‘aristos achaion’ which is essential to understanding Achilles’ character later on. In that same book, Plague and Wrath, Achilles ‘had the men summoned to assembly’[3] something only he could do for he had been seen as a leader in the greek’s eyes which continues when the first man to open the assembly was himself instead of the actual leader of the achaean army[4]Agamemnon.We see the good and bad of Achilles in the start just like the first few words of the poem. It builds him up as a grey character in the sense that yes he is a hero, one we admire and grow up to gain inspiration from but is flawed and has consequences that affect him in the future starting with book 1 when he leaves the greeks after his geras, Briseis, was taken from him leading out to his calls [5]for his mother,Thetis , a sea nymph which he immediately begs for the fall of the Greeks to even if they are his own team; we are shown a side of Achilles that isn’t so heroic. The beginning of the poem suggests that he was a leader of people and ‘speaker of words’, an important part of the homeric hero ethos, a loved warrior almost immediately representing a good idol but it changes after this scene as he slowly shifts into a more nuanced character. Book 9, Achilles is written with more depth; He is a warrior and fighter but also an artist contrasting itself with a stereotypical violent and brutal attitude with the gentleness of a poet[6], not only does he have strength but the ability to spread his own kleos through his own songs. Book 9, makes sure to develop Achilles into a character which stands out as unique. Onto book 16, Patroclus, Achilles’ companion brings up his lack of fight and defiance to Agamemnon which leads to Patroclus actively going back to the battlefield in order to ensure Achilles’ time [7]is protected. Evidently, Patroclus falls at the hands of Apollo and the Trojans, specifically Hector. ‘The exchange between Achilles and Patroclus at the opening of book 16 is a crucial turning point in the plot of the Iliad.’[8] We see the repercussions of Achilles’ plea to Zeus come back in a turn of fate from book 1, the prophecy unfolds and once stubborn Achilles backs down from his refusal to fight in order to avenge his fallen companion vowing to not die until the battle is over and Hector of Troy is dead in book 18.[9] Even with opinions being that what ‘he really wishes for is a world containing nothing but himself and his own glory,’[10] it is clear that with his pride and overwhelming love for glory when seen when he rejects the massive offer from Agamemnon in book 9, he still thinks of Patroclus highly in a way beyond just selfish care due to Patroclus’ death doing something the gifts and women never did which was to ‘persuade him to forego his anger at Agamemnon entirely’[11]. After the events of Patroclus’ death, Achilles shows his desired outcome from the battle suggesting a self-destructive nature he hadn’t mentioned before in a twist of fate. He was more upset by the idea that Patroclus was dead before himself when he revealed he ‘liked to think that I alone would perish here in Troy…that you Patroclus, would get home to Pthnia and be able to fetch my son from Sycros…’ [12] Achilles wanted Patroclus to be the father of his very own child bringing into depth his own thoughts on the war. Growing up with the knowledge that eternal kleos and glory meant his short lived death, he trusted the only man close to him, Patroclus, to care for his legacy in Neoptolemus. Not just his want for the father of his child to be Patroclus but that he could never imagine a world in which Patroclus died putting the plea to Zeus in an ironic light, he made the Greeks suffer without intention to ever harm his companion this shows Achilles naivety and ignorance to his own suffering seemingly childish. Finally, towards the end of the epic poem, book 23 is a different light for Achilles.

Overall, Achilles is childish in his ways expecting everything to go his own desired way without thinking of the consequences and may have lacked heroic traits but was considered an admirable character as a result of his acknowledgment of these flaws and grows to become a man worth calling ‘the best’. He is the realistic ideal of a hero.

Patroclus in the Iliad:

Patroclus is the companion to Achilles and established as a quiet character who does not speak up or make his presence known to the other characters with the exception being Achilles as seen throughout the Iliad when he does not act until book 9. In this book, Achilles ‘turned quickly’ to Patroclus beckoning him to welcome Agamemnon’s embassy by giving ‘every man a cup’[13]. This introduction is one representing the duty of a wife suggesting to the listener of this poem that Patroclus has a reserved nature acting more so like a wife than a soldier and highlights the reversal of status from the stereotypical older and younger male roles in companionship. Patroclus is an oddity in the Iliad and never fully developed until book 11 in which a new light of him is shown. This nurturing, wife-like man is now described as ‘Patroclus equal of Ares[14]’ an odd epithet for a man depicted in such a submissive way however it is effective in building up his fate in book 16. In detail, by comparing Patroclus to the god of war, Ares it creates an ominous image due to the concept that Ares represents war, scholars have agreed that ‘War is Ares’ realm, just as the sea is the realm of Poseidon, the underworld the realm of Hades, and the sky the realm of Zeus.’ [15] Ares is a personification of war so by saying patroclus is ‘equal’ it shows his character is not just a side character to be forgotten and will play a relevant role in the story as a soldier. The reasoning behind these connections are to foreshadow Patroclus’ violence to the trojans, reminding the audience that the Iliad is about a prophecy of Achilles who so happens to be Patroclus’ companion. It tells the audience Patroclus will not survive. Which is proven shortly after when Homer directly addresses the audience, ‘...and that was the beginning of the end.’ [16]- the prophecy can no longer be changed now. In book 16, Patroclus ‘weeping with hot tears like a dark spring…’[17] runs to Achilles and complains about Achilles' nature causing the ‘Greeks’ humiliating destruction’ going so far to say Achilles was made from stone due to his selfishness and lack of care for the other soldiers. [18] This speech is the most we hear from Patroclus and can tell us how sympathetic he is towards his peers in war, he is emotional and clearly devastated enough to insult the man he seemed to follow so wordlessly throughout the whole war yet unlike book 9 Patroclus is not effeminate and is a masculine figure with the reversal of his ‘wifely’ role; he is living up to the standards of a hero by speaking his thoughts clearly to Achilles and provides a solution to Achilles’ stubbornness by wearing his armour in battle[19]. The importance of these descriptions are to show Patroclus is his own man outside of Achilles in order for him to have his own kleos and tale which was such an important part of ancient Greek culture. From this point on, there is a change in characterisation with Patroclus acting like any other warrior in the war. Patroclus started the battle when he ‘was the first to throw a glittering spear.’[20] He takes no hesitation in killing the trojan soldiers unlike the gentle, caring side shown when he goes to help Nestor with the injured. His reign as a commander of the Mycenaean army is successful with Homer using an extended metaphor to compare the army to ‘...predatory wolves…’[21] embracing the brutality they committed against the trojans as if they were ruthlessly taking their loved ones away which in a way was true; the Mycenaean army were killing the sons and fathers of Troy without a shed of pity. This violence may seem unnecessary on a surface level but it creates depth to the character of ‘dull’ Patroclus. The gore of Patroclus’ kills continue from lines 308 to 655 inciting fear from the trojans - this however was all prophesied and leads to an intense hubris for glory fueled by the mission of his companion and confidence from Zeus. ‘Three times Patroclus scaled an angle of the high wall and three-times Apollo hurled him off, thrusting back his glittering shield-with his immortal hands.’[22] The lack of rationality conflicts the free will Patroclus has in this situation and can be argued to not be his own thoughts but as it was Zeus who ‘put heart into Patroclus’[23] a common term used to explain natural phenomena or feelings, it is clear that Patroclus himself was too prideful of his ability to destroy the walls of Troy on his own and we realise his fate and punishment in these intense segments of the book - the title coming back like a bang. Patroclus will die as the gods punish him. Patroclus is attacked from behind by Apollo paralysing his body giving opportunity for Euphorbus to spear him resulting in Hector finally stabbing him with his spear in the stomach. Patroclus died trying to escape his death, understanding now Achilles’ worry and final words said to him. ‘A fatal blindness overtook Patroclus.’[24] Throughout his life; Patroclus lived in the shadow of Achilles seemingly representing ‘the compassionate side of Achilles, who is himself racked by a conflict between compassion and anger.’ [25]However there was more to it, Patroclus was a man who had potential to be the greatest warrior - aristeia and had his own character outside of Achilles. His personality being full of care and love towards his fellow soldiers yet still a brutal, prideful hero he is showing that heroes need control over their pride or it will overcome them. He is still relevant to the development of Achilles’ awakening as aristos achaion - the best of the best since he teaches a valuable lesson of control especially since it results in Achilles joining the battle again, making up with Agamemnon and killing all his anger. Achilles was a childish hero until Patroclus grew him into a manly hero.

Achilles and Patroclus’ questionable dynamic

To further the dynamic of Achilles’ passionate care for his ‘dearest companion’ [26]Patroclus it is important to understand the context behind homoerotism in 6th-9th century Greece. Homoerotism in Greece was common but not in a way many people would expect - rich men were allowed the opportunity to scout for eremenos aka young boys from 13-18 who acted as sexual partners and mentees for an older man around their 30s.[27] These dynamics weren’t considered homosexual by nature but more of an educational dynamic which is why the relationship between Patroclus and Achilles will seem so confusing for many modern scholars but with how Homer reverses the positions as Achilles acts more so like the erastes, the lover/teacher, than the eromenos even with their age and wealth differences it is shown that they maintain this companionship through reasons besides education. Since these relations were supposed to end around the time the eremenos would gain a beard or become a man aka at the start of a marriage it can not be a sensical opinion that Achilles and Patroclus were in this dynamic. Achilles was the son of King Peleus and born from a nymph, his status far surpassed the exiled prince Patroclus who was an older age. Hypothetically had Achilles been the eremenos it would still prove to be strange as a result of Achilles own child having been born and in the context of Patroclus being the eromenos ,regardless of his age, it once again is unusual due to his age and status as a servant of the House of Peleus. In book 9 this dynamic shines through with the acts of eromenos or similar to that of a wife, Patroclus is commanded by Achilles to ‘...mix less water with the wine and give every man a cup.’ [28] He is treated like a typical ancient Greek wife with the duties of the house given to him which is an example of the reversal of the time period’s typical homosexual relationship. ‘it is equally true that the relationship of the heroes in the Iliad is conceived and described by Homer in terms that put it far beyond the conventions of companionship’[29] With Achilles’ own words suggesting he would never make it past the war due to the prophecy from his mother, he labels Patroclus the one he wants to inherit: his kingdom, his role as a father to his child and wealth.[30] Going forwards in time to the 4th century Rome when the epic poem, ‘The Aeneid’ was written by Virgil; Nisus and Euryalus were introduced to the world of mythology via book 9. Virgil focuses on the relationship between father and son as well as male companionship in this book but one duo stands out: Nisus and Euryalus. They are two trojan soldiers sent out on a mission to bring back the main character Aeneas to their forte after an attempted burning by the enemy but get carried away and kill multiple Rutulians (Their enemy in war) leading to their death.The impactfulness of their death is the position they are in and its meaning, ‘he hurled himself on the dead body of his friend and rested there at last in the peace of death.’[31] Nisus died giving up his life to avenge Euryalus in the best way he could then died on top of him, it is symbolistic of their intimacy and a parallel of the ashes of Patroclus and Achilles suggesting Virgil also believed in the romantic/erotic nature of the iliadic heroes and isn’t just a modern western idea that scholars believe. Even though the label of homosexuality did not entirely exist before the 1800s, ancient same-sex relationships were still represented and acknowledged as shown by Plato in Symposium when Aristophanes uses the labels male-male relationships to describe homosexuality.[32] This proves Patroclus and Achilles had a romantic dynamic.

The Song Of Achilles By Madeline Miller

The Song Of Achilles: an introduction

The Song Of Achilles or otherwise known as TSOA, is a fictional novel written by Madeline Miller based on the infamous Trojan war epic poem, The Iliad. Its main character is unusual due to it being a first person account of Patroclus’ life until the death of Achilles. The novel came out in 2011 with quick victories such as the Orange Women’s Prize for Fiction award in 2012. As a classical retelling it has been praised for ‘Achilles' and Patroclus' relationship stays true to the passionate homosexuality of Homer's “Iliad.”’[33] and centres its focus on said relationship. In this segment of the essay, I will discuss the supposedly ‘reliable’ portrayal of the Achilles and Patroclus dynamic along with their individual characteristics.

Achilles in the eyes of Madeline Miller

Achilles is the love interest of the main character, Patroclus, and the character we read the most on. Our first introduction to Miller’s Achilles is through the perspective of Patroclus during the year a race/sports event was held at his kingdom; ‘He moves easily, his heels flashing pink as licking tongues’[34] In an odd sensual way of describing a fourteen year old boy we can tell Patroclus starts to feel attraction to Achilles from the exact moment he first saw him. The audience themself desire to know Achilles due to the unattainability of his character - he is a mystery to Patroclus, our self insert in this novel and beautiful figure. This mystery of Achilles continues as Patroclus now exiled moves into his castle in Pthia, he is still desiring with his beauty however this changes when the upset Patroclus is confronted by Achilles who takes care of him by making him his companion a role he hadn’t given to any other boy. The barrier between Achilles and the audiences’ curiosity is slowly being diminished as we finally see who Achilles is and why he is considered ‘Aristos Achaion’[35]. Asides from being similar to a caricature of a femme fatale, Achilles does not change in his personality retaining some of the intense stubbornness left from the Iliad which most individuals would associate with the character of Achilles, his simple conversation with Patroclus after finding out the way he killed that boy causing his exile. ‘“Never.” He was silent a moment, thinking. “I don't know,”he repeated, finally. “I think I would be angry.” This foreshadows that Achilles does not like his things being taken away from him because he has grown up spoiled which is a direct reference to the end of the Iliad in which Achilles furor leads to the death of Hector after Patroclus is killed in battle. This scene is important in the character of Achilles in the novel as it shows Madeline Miller is trying to associate this Achilles with the original and create a reason behind his immense anger though in the grand scheme of a love story it comes across as possessive and objectifying for Patroclus. After the bells of war ring for the main characters we get the extent to the prophecy which lingered in the air, Achilles denying his own death by saying there is no need to kill Hector an immature remark to make when everyone in the room is aware that prophecies happen and are prevailed suggesting his childishness which as a sixteen year old in war would feel that way but its dramatic irony put into the novel to show a naive side of Achilles. Overall, the character of Achilles in The Song Of Achilles is more god-like and divine then the Iliads Achilles, his unreachable personality that attracts Patroclus and his power/beauty that creates an otherworldly or inhumane look overall lean towards the blood of his mother Thetis more. Now the idea of a more godly Achilles is not a horrible concept or uninteresting as he is an ambiguous character with his manhood in the Iliad but in The Song Of Achilles he comes across as a never-changing being who stays in his naive, childish ways and reduces his personal heroics to just divine right which discredits the power of a man learning the mistakes of his stubbornness and coming into terms with the fact he is indeed a man not a god.

[36]

Patroclus in the eyes of Madeline Miller

Patroclus is the narrator of the novel and the focus of the trojan war hence why the novel begins from his birth, ‘Quickly, I became a disappointment’[37] is the first impression we have of his character; pitiful and sympathetic, the contemporary audience see Patroclus as a tragic character already with the increased emotional impact by an attempt to relate Patroclus to readers who also experience neglectful fathers. Patroclus becomes a literary device to engage readers in, a self insert, a form of escapism which is unjustified to the depiction of Patroclus. Most of Patroclus’ character revolves around the impact of Achilles negatively; his father tells him ‘That is what a son should be.’ [38]after Achilles wins a race hosted by King Menoitius making it clear to Patroclus that there is some dramatic irony to his name apparently meaning ‘honour of the father’. Throughout the beginning of the novel, Patroclus is exiled after killing a boy who tried to take Patroclus’ dice and sent to King Peleus who grows exiled boys into soldiers; Patroclus is a shallow character with no real depth to him because of a lack of actual character in his story. In fact, when he is thirteen one significant moment is Patroclus talking about the other boys having sexual intimacy with slaves, ‘These unions were not always rape; sometimes there was mutual satisfaction, and even affection. At least that is what the men who spoke of them believed.’[39] This section of Patroclus discussing the culture and way he grew up in Peleus’ kingdom feels two dimensional as it is taking on the form of a narrator and omniscient presence. Miller seems to want to make a political point on feminism using Patroclus but fails to use Patroclus as a character efficiently due to his own sex and upbringing denying that he would not deem the intimacy between the boys as ‘rape’ but rather just sex. By using Patroclus as a narrator it discredits his own character and context and can even link him to femininity by using the author’s words. Patroclus’ masculinity is essential to discussion because it is a conflicting opinion in the world of Madeline Miller and Homer - towards the end of the novel Patroclus is much more brave and confident after growing up during a war. This new Patroclus who is smart and uses his influence and understanding of Achilles affects how he communicates with others such as how he prevented the rape of Briseis by going to Agagmemnon and knowingly telling him the consequences and actively speaking up against Achilles particularly when Briseis, a young slave girl, is taken by Agamemnon as a punishment of Achilles. Some reviews state that Patroclus ‘...often felt that Patroclus seemed more like a wife than a gay man.’[40] suggesting the way the representation of Patroclus’ masculinity hasn’t been acutely shown has impacted the characterisation of Patroclus. There is an attempt to keep some resemblance to a warrior in The Song Of Achilles as seen throughout the war saga but when Patroclus fights he does not think of his own battle ‘I imagine how Achilles would do it’[41] is the first thought he has. The importance of Patroclus’ character in the Iliad and mythology being a homeric hero who was just as strong as Diomedes or Odysseus is significant to his own masculinity which Madeline Miller fails to capture overall stunting her writing of a historically queer relationship. It makes Patroclus feel more so like a female assigned character who was casted a male and ruins the integrity of the retelling.

The heteronormative depiction of homosexuality

Madeline Miller is a cisgender woman from an American background in her late 40s, the reason why her characteristics are so important to this essay is because it shows her experience as a cisgender, heterosexual woman writing about a historically homosexual relationship that has become a big influence of modern Greek culture. In the novel, the two characters are not properly built up with much to their relationship beyond Achilles’ initial interest after finding Patroclus hiding from lessons due to the rumours being spread of him. This is emotional as the audience immediately feel attached to their dynamic of the loved son and the exile; it intrigues the audience but leaves their relationship as more of a saviour and saved role from this point on especially with Patroclus being a self deprecating, depressed character. Miller emphasizes the features of the two boys with interesting comparisons, by depicting Achilles as the more feminine character appearance wise with ‘his beauty, deep green eyes, features fine as a girl’s’ [42] and Patroclus takes the role of a more stereotypical feminine personality……it leaves the impression that a female did in fact write this dynamic which is not what should be the thought left on a piece of literature trying to portray a gay, man loving man, relationship from an ancient civilisation. This perspective is a fetishization of a homosexual relationship because it tries to get its audience to imagine themself in the shoes of the couple in a sexual manner; the sexualisation of young Achilles and the self insertion of Madeline Miller into Patroclus. There is an underlying masochism to Patroclus in the dynamic between him and Achilles when he mentions how he has lost any upsetness at losing against Achilles because ‘who can be ashamed to lose to such beauty?’ instead of Patroclus being his own detached individual he becomes an extension to Achilles’ slaves - it is upsetting to see how powerless Patroclus is depicted by Madeline Miller from a poem that had two strong, independent yet loving partners and leads to negative reinforcement on ideas of gay relationships just like how the two together mimic a toxic heterosexual one. The audience may question whether this relationship is a reflection of Madeline Miller's fantastical image of homosexuals.

Conclusion

The Song Of Achilles is harmful to the integrity of gay history in literature and on top of that harmful to the perception of ancient Greek culture by westernizing it. As Madeline Miller wrote the novel, The Song Of Achilles, in 2011 a time period where homosexuality was still not legal only 4 years before the Obergefell V was created. It shows that within her own defense a misrepresentation of homosexual relationships is understandable from the culture of her time period but due to the impact it still has today on younger people and lack of acknowledgment by the author on the devastating impact this has on the gay community in the 2020s a decade later it is still relevant. By retelling a myth it is essential to make it clear it is purely written from your imagination instead of an accurate telling of an established religious myth instead of the common way other mediums like comics (Lore Olympus[43]) and film (Hercules[44]) abuse the Greek culture by using the ancient religion to mock them or entertain people from completely different cultures and societies predominately America and the UK. This however does not mean all media taking inspiration from greek mythology is disrespectful but it must be a cautionary area. By bringing an audience of young queer individuals and introducing them to a relationship that is in itself unhealthy/toxic and depicted as positive it is not helpful for solving community wide issues with abuse in gay relationships. In a report of domestic abuse in same-sex relations in 2006, it was found that 77.5% of queer participants had experienced emotional abuse with 40.5% of sample experiencing sexual abuse yet it is important to note that in the homosexual male group, it was said that most did not have the confidence to call their abuse rape but instead ‘forced sexual activity’ showing there is a culture of not knowing what sexual abuse is in the gay community.[45] Finally, it is rare to find literature or media that show gay boys as people who aren't the dynamic of a feminine one and masculine one. It would be much more accurate to show the two men in this novel as they were; warriors in a war and in a way the epitome of masculinity. It is unsupportive to force gay men into a role of femininity when they are written as masculine men who love each other without a need for a heterosexual dynamic.

Further Works

In further study or research an important topic would be a discussion over the female characters of Greek mythology and religion to the modern representation using characters such as Calypso from the Odyssey to mediums like Epic the musical by Jorge-Rivera Herrans[46] or Penelope from the Odyssey to A Thousand Ships’ Penelope by Natalie Hayne[47]. One thing noticeably common in modern media that uses female characters from ancient Greco-roman times is that they are poorly presented and instead casted into a box of ‘Misogynistic character’ even if in the context they were written in the intentions were to create more equality for a feminist-like ideals. Many female characters will be misogynistic in frequent cases of mythology as a product of their time however, there are some characters such as Penelope who subvert this by arguably being the most intelligent character of The Odyssey

Another research that is both relevant and interesting to write about would be the presence and treatment of transgender individuals in ancient Roman literature with Ovid’s metamorphoses[48] such as Tiresias, Caenus and Hermaphrodite[49]. Study into queer history is important in order to bring it to light and hopefully normalise homosexuality or gender queerness in society - without people working to uncover this part of history mistakes will happen again equality will never truly happen.

At the end of the day, there is still so much to discuss when it comes to these ancient civilisations and historical literature that still isn’t brought up but for now this has been my essay on the impact of The Song Of Achilles to the original epic poem, The Iliad.

Bibliography

Books

- Homer, Rieu, E.V., Jones, P.V. and Rieu, D.C.H. (2003). The Iliad. London: Penguin Books.

- Plato and Jowett, B. (2016). Symposium. Raleigh, N.C.: Lulu.com.

- Virgil (2003). The Aeneid. Translated by D. West. London ; New York: Penguin Books, pp.197–200.

- Miller, M. (2011). The Song of Achilles. London Bloomsbury Paperbacks.

- Haynes, N. (2019). A Thousand Ships. London: Picador.

- Publius Ovidius Naso, Rolfe Humphries and Reed, J.D. (2018). Metamorphoses. Bloomington, Indiana, Usa Indiana University Press.

Articles

- Campion, J.S. (2022). Examining Patroclus’ role in Homer’s ‘The Iliad’, Shakespeare’s ‘Troilus and Cressida’ and Miller’s ‘The Song of Achilles’. Reinvention: an International Journal of Undergraduate Research, 15(S1).

- Clarke, W.H. (1978). Achilles and Patroclus in Love on JSTOR. [online] Jstor.org.

- Donnay, C. (2018). EWU Digital Commons Pederasty in ancient Greece: a view of a now forbidden institution. [online]

- Jordison, S. (2013). The Song of Achilles: Homer’s ownership of his hero. [online] the Guardian.

- Ledbetter, G.M. (1993). Achilles’ Self-Address: Iliad 16.7-19. The American Journal of Philology, 114(4), p.481. doi:https://doi.org/10.2307/295421.

- Mason, E. (2020). What was pederasty in ancient Greece? [online] HistoryExtra.

- Millington, A. (2013). War and the Warrior: Functions of Ares in Literature and Cult. [online]

- Seymour, J. (2011). Hermaphrodite. The Lancet, 377(9765), p.547. doi:https://doi.org/10.1016/s0140-6736(11)60188-8.

Films

- Hercules. (1997). [Film] Walt Disney Pictures.

Comics

- Smythe, R. (2019). Lore Olympus. [online] www.webtoons.com.

Others

- Herrans, J.-R. (2022). Epic the Musical. [Song/Concept Album] Jorge-Rivera Herrans

[1] Fandom is the internet slang to define a group who is interested in certain media and creates their own similar work inspired by it with credit.

[2] (Homer et al., 2003) Page 1 Line 2-6

[3] (Homer et al., 2003) Page 5 Line 54

[4] (Homer et al., 2003) Page 5 Line 57-9

[5] (Homer et al., 2003) Page 13 Line 350-360

[6] (Homer et al., 2003) Page 149 Line 188-191

[7] ‘Time’ is the ancient Greek word for honour.

[8] Ledbetter (1993) Vol.144 Page 481-491

[9] Homer et al. (2003) Page 328 Line 334-338

[10] Knox (1990)

[11] Clarke (1978)

[12] Homer et al. (2003) Page 346 Line 328-331

[13] (Homer et al., 2003) Page 150 Line 200-205

[14] (Homer et al., 2003) Page 196 Line 604

[15] (Millington 2013) Page 44

[16] (Homer et al., 2003) Page 196 Line 604-605

[17](Homer et al., 2003) Page 274 Line 2-3

[18] (Homer et al., 2003) Page 275 Line 21-36

[19] (Homer et al., 2003) Page 275 Line 39-42

[20] (Homer et al., 2003) Page 281 Line 285

[21] Homer et al. (2003) Page 283 Line 351-355

[22] Homer et al. (2003) Page 292 Line 703-705

[23] Homer et al. (2003) Page 292 Line 690-691

[24] Homer et al. (2003) Page 295 Line 806

[25] (Ledbetter, 1993) Page 481-491

[26] Homer et al. (2003) Page 436 Line 592

[27] Mason (2020)

[28](Homer et al., 2003) Page 150 Line 202-203

[29]Clarke (1978)

[30] Homer et al. (2003)

[31] (Virgil, 2003, pp.200)

[32] Plato and Jowett (2016)

[33] (Hewitt, 2022)

[34] Miller (2011)

[35] Aristos Achaion is a phrase meaning to be the best

[36] Miller (2011)

[37] Miller (2011)

[38] Miller (2011)

[39] Miller (2011)

[40]Jordison (2013)

[41] Miller (2011)

[42] Miller (2011)

[43] Lore Olympus was a webcomic online by Rachel Smythe popularized on webtoons for being a new ‘modern’ take on the myth of Persephone and Hades and their supposed love story while in reality the myth was about a mourning mother, Demeter, and the beginning of Winter as an explanation for seasons changing meaning it does not focus on those two at all. The problematic nature of this comic is that it demonizes most gods, especially Demeter who was an essential goddess to the Greeks. This comic is pure disrespect to the Hellenistic Paganism community today and the rich history they had still present in modern Greece.

[44] Hercules is the disney film surrounding the myth of Heracles in ancient Greece and the fight against the Titans and gods in order to save the world - this film not only mixes the name Hercules which was the roman version of the Greeks Heracles but also demonizes the god Hades who is neutral in the myth of Heracles.

[45] (Donovan et al., 2006) A report conducted in January 2005 to November 2006 about research into same sex domestic violence compared to heterosexual relationships. It was a UK wide survey that had five groups of participants: Lesbians, gay men, heterosexual women and different men of ages and ethnicity.

[46] Epic The Musical is a concept album made online via social media such as Tiktok set around Odysseus during the events of the Odyssey in chronological order of Odysseus’ journey. It was made by Puerto rican artist and musical theatre singer Jorge Rivera Herrans.

[47] A Thousand Ships is a book focussing on the accounts of women involved in the Trojan war such as: Hecuba, Clymnaestra, Penelope, Biseis, Thetis, Athena, Andromache and many more.

[48] The Metamorphoses by Ovid is a famous collection of poems by Ovid from ancient Rome, the poetry collection mentions myths on how Tiresias had been punished by Hera and turned to a woman and then Caenus’ transformation from a princess to king.

[49] Hermaphrodite was a myth about the intersex child of Hermes and Aphrodite attracting a nymph who begged the gods to let her fuse with him into one which they agreed to. He represented an androgynous idol who had male genitalia and a female appearance.

Arthur Heselden is an aspiring classicist with experience in classical civilizations at an advanced level. After college he chose to volunteer at Roman historical sites to learn more about the influence of Rome on modern and past Britain.